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PINS Bailiwick Theatre Company Have you ever seen a movie or play that, at first viewing, didn’t leave much of an impression on you, but you then found yourself dwelling on it for days after the first viewing? Such is the case, for me, with this production. PINS is the stage adaptation of a highly-reviewed book of the same name, written in 1999 by Jim Provenzano (the book’s author also penned the adaptation). It chronicles the coming-of-age story told through the eyes of teenager Joey Nicci (played by Eddie Bennett). Joey and his family has just moved to a new town, his father accepting an available plumbing job, where Joey takes on a new school just as he is coming to terms with his sexual identity, finding solace through his love for wrestling and his love for one of his fellow wrestlers, Dink (Casey Chapman). Though the script of PINS has some rough edges to it, this is a powerful and haunting play. It heart-wrenchingly deals with such issues as homophobia, both outward and internalized, violent gay bashing, the confused grappling of parents and siblings dealing with a family member coming out, and the pervading despair and loneliness encountered by a teenager realizing that he isn’t “normal”. These are dark and complex issues, but ultimately this play projects a message of hope – hope that the courage to do what’s right truly triumphs over a world seemingly infected with fear and intolerance. PINS tells a story that could not have been told 20 years ago. His parents are confused but supportive, wanting the best for their son. When Joey comes out to his working-class father, the father responds not with shame or repulsion, but with concern, wanting more than anything else that his son be happy. Many performances of the 10-member cast are exemplary, most
noticeably Eddie Bennett’s portrayal of Joey. Everything Bennett does exudes
passion, from the expressed insecurities of his sexuality, to the physicality
of the wrestling matches to his desperate kisses with Dink. One can inwardly feel
his anguish as his life careens out-of-control throughout much of the play’s
two acts. The set is simple – a wrestling mat, a set of gym lockers, and benches placed together in different configurations, becoming a car in one scene and a bed in the next. In a smart move, a projection screen has been placed above and behind the stage, communicating the setting of each scene. The [On a side note, the printed program for this play sucks. Serving as the program for all 6 plays in the Pride Series, it’s a sloppy collection of unstapled, poorly-mastered, badly-printed pages that are hard to navigate and easy to fall apart. Come on Bailiwick – please make your program as thoughtful and professional-looking as the theater you present. ] Rating: 3 stars Reviewed by Scotty Zacher |