Now same-sex marriage is legal, is the struggle for LGBT+ equality over? Has the gay community lost its reason for being in today’s US? Jordan Seavey’s bittersweet Homos, Or Everyone in America grapples with these questions through the lives of two New Yorkers.
Like flashes of fragmented memories, the action is played out across Lee Newby’s intimate sandbox set, with the audience in the round, alongside mounds of strongly scented bath bombs. Jumping between 2006 and 2011, these moments are initially disconnected, the temporal shifts between them choreographed like a spooling videotape. Friendster, MySpace and Facebook provide time indicators as the couple’s relationship blossoms, deepens, falters and rekindles. Yet as the episodes are extended and coalesce into coherence, the creeping spectre of a horrific attack haunts their privileged world.
Tyrone Huntley’s Academic exudes generosity and affection towards Harry McEntire’s Writer, whom he jokingly calls a “gay Woody Allen”. Their captivating chemistry ensures their self-analytical arguments rarely pall – they debate gentrification in Williamsburg and Park Slope, the use of poppers, the politics of a threesome with handsome stranger Dan (Dan Krikler) and the modern relevance of marriage as an institution.
The Magnetic Fields’ Kiss Me Like You Mean It forms a powerful thread through the piece, which has an ultimate message that love conquers all, even though the struggle for recognition may not be over. With radical changes in the US political scene since it was written, Homos, Or Everyone in America proves a valuable reminder that hearts and minds – not just the law – need to change for equality to be achieved.