By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Since Burn This is a play full of confessions, I may as well get into its spirit by admitting that it's not a play I like very much, even though I'm an enthusiastic admirer of its author, who seems to me among the very best of our innumerable underrated playwrights. Burn This is incomparably more popular than the plays of Lanford Wilson that I do love. It has been done everywhere; its scenes are acting-class staples; young actors, especially those who think they resemble John Malkovich, get a manic glint in their eye when they talk about it. Audiences, as far as I can tell, love it too. It may leave me frustrated and irritable, but it has never failed in its effect.
For me, the problem with Burn This is that it seems to consist of two plays laid one on top of the other, but not fitting exactly; the lines are always a little off register. One of the plays deals with mourning and creativity. Robbie, a gifted young dancer-choreographer, has been killed in a dreadful boating accident along with his lover, Dominick. His dance partner and platonic roommate, Anna, has to sort out both her feelings and her future, with the support of their third roommate, Larry, an artist who works in advertising; we gather that both Larry and Anna have cherished unrequited sexual feelings for Robbie. Larry, in the wisecracking tradition of gay roommates in entertainment, appears to be celibate; Anna has an on-again off-again relationship with a wealthy young screenwriter, Burton, whom she never loves quite enough to marry.
Into this emotionally fragile house of cards, at an ungodly hour, Wilson injects a larger-than-life character who could easily blow down stronger houses: Robbie's older brother Jimmy, a/k/a "Pale" (the nickname comes from his fondness for V.S.O.P.). A restaurant manager a decade older than his late brother, Pale is everything these hypersensitive artists aren't: blunt, crude, appetitive, arrogant, assertive, and utterly heedless of manners, proprieties, or anybody else's concerns. He also happens to be resourceful, perceptive, intelligent (albeit uneducated), good in bedeven considerate and caring, once you work through the maze of his self-created value system. Naturally, he has a riveting resemblance to Robbie. And, though lacking the others' nuanced tremors, he has his own volcanic set of emotional conflicts: He's miserable about his drudging, purposeless life; guilt-stricken about the failure of his youthful marriage; and alternately busy grieving for Robbie and resenting the "shame" his open homosexuality brought on the family.
Pale is drawn on an epic scale, and Wilson writes him epic-length streams of rant, notating his hero's deflections from correct usage with the insensate glee of a man who has just discovered that he can ride a whirlwind. The only trouble is that whirlwinds have a way of dropping you with a thump, and not necessarily at the spot where you wish to land. Pale isn't merely a Jersey vulgarian in this loft full of Downtown artsy types; he's wildly out of scale, like a Homeric hero who's mistakenly wandered into a Jane Austen novel. Wilson tries to correct the error by building him into the story as an element of romantic conflict: Pale is to be the miraculous but impossible fulfillment of Anna's repressed longing for the unavailable, and now lost, Robbie. But Pale shatters this beauty-and-the-beast romance even more violently than he does the Philistine-meets-artists comedy. Even Shakespeare didn't try pairing Falstaff with Rosalind or Viola.
The more gloriously and obnoxiously excessive Pale is, the less probable Anna's behavior becomes. "I have never had a personal life," she keeps saying, as if this were a reasonable excuse for not bluntly showing the door to someone who, from her vantage point, can only be viewed as a life-wrecking creep. Along with the weird and only dimly explored tensions among the characters regarding Robbie's gayness, the script has a weirdly dressy-empty consciousness of the dance world that's particularly puzzling from Wilson, whose plays often show a tremendous sagacity about artists and their dealings with life. We don't hear of Robbie getting any memorial service or obituary tribute, or of any New York colleagues joining Anna and Larry on the agonizing trip to the family funeral. Apart from the convenient story of Anna's choreographic commission from someone mildly famous named "Fred," we hear nothing about coevals, competitors, mentors, funders, idols, bookers, aficionados, or even rivals. Granted, this would all be background detail, but it's the detail of Anna's life with Robbie, and surely as germane to the work as the kitchen procedures in the Short Hills ristorante Pale managesespecially since there's a running question, heavily rubbed in by Pale, as to whether Robbie and Anna's work had any artistic value at all.
On this, as on other matters, Wilson doesn't give us enough evidence to judgeanother departure from his usual exactitude. Is Burton really a nice guy who loves Anna, or just a spoiled rich kid who wants an artistic trophy wife? What is Larry's problem? What kind of long-term relations could Anna possibly have with Pale, who would inevitably either remain wild or dwindle into a banal suburban spouse? And what do any of these matters have to do with grieving for and coming to terms with Robbie's loss? Seemingly reveling in their emotional confusions, the characters never look ahead, till one loses patience with them, and Pale's tirades start to seem more and more like tactical explosions set off to startle onlookers back into the world of the play.