"Only Ugly Guys" by Running Errands at Gremlin Theatre

The "funny, clever, inventive, and very modern" new play Only Ugly Guys, written by up-and-coming #TCTheater artist Kurt Engh, is back for another round. But this is no mere remount, it's an expansion and rewrite of what he calls an "anti-romcom" about four young gay men. The version staged at Open Eye Theater last summer as part of their Guest Artist Series was 90 minutes long and used projections of videos, texts, and social media. This new version (with two of the four original cast members returning) is about two and a half hours including intermission, staged on the thrust stage at Gremlin Theatre. So there's 30-40 additional minutes of story, with a new structure and style as well. It's the same four characters and similar relationships and story, but told in a fresh new way. And it's still "funny, clever, inventive, and very modern," continuing through September 27.

We meet these guys in the beginning of the play in a hilarious sequence as they scurry to get dressed after a night of, well, you can imagine. The relationships are a bit different in this updated version, but we still have the four-years-married couple Brad (Steve Mallers) and Adam (Jack Oleg reprising their role), and the two singletons in a sort of relationship with some history - the 22-year-old Ciprian (Trent Ramert) and the older more experienced social media star Dean (Leo Rossmiller reprising his role). The story begins at a gay wedding, and then advances to a sex party where things get even more complicated. Brad and Adam decide to try an open relationship (which, spoiler alert, doesn't go well for the marriage), and Ciprian and Dean get involved with them, which also complicates the friendships. The first version of the play utilized a narration style, with each character taking turns, but this version forgoes that device and tells these four interrelated stories about these four very different young gay men, who are all endearing (at times) despite their questionable choices. The cast gives very real and raw performances, and work well as a team.*

Leo Rossmiller, Jack Oleg, Steve Mallers, and Trent Ramert
(photo by Dan Norman)

Despite the fact that these characters live their lives online, there are zero devices on stage, which I think it a clever way to do it. Their phones are always present, but not literally; instead, the characters speak in social media posts and texts. There's one long scene that's entirely comprised of text conversations between two pairs of characters, standing on opposite sides of the stage sometimes not even looking at each other, speaking even the punctuation, emojis, and gifs. It's very clever and very modern. There is also some use of recorded audio of podcasts or posts, and some speaking or singing into microphones.

Another thing that's quite different is the staging, once again benefiting from Grant Sorenson's clear direction. Open Eye has the sweetest little stage with a tiny historic brick proscenium arch, which just kind of makes everything there seem quaint and the opposite of modern. At Gremlin, they have created a very modern angular set, with a raised platform in the shape of a square with an open center (acting as a hot tub in Act II), everything black and gray with clear plastic, and strips of red plastic forming a curtain at the back. The characters' clothing (what little there is of it) is also in black and white with pops of red, creating a modern and consistent aesthetic. And there are some really cool and creative lighting effects (audio/video design by Ian Olson, lighting design by Shannon Elliott).

Ultimately, I don't think this play was created for me, a middle-aged straight cis childless cat lady, although I still found things to appreciate and connect with. But younger and/or queer audience members might find more to relate to, and will probably feel seen, which is hugely important. This was definitely a decidedly younger audience than I typically see at the theater, especially the more established ones. Young artists making work that draws young people away from their devices and into a community of friends and strangers to experience innovative storytelling is exactly what theater needs to grow, thrive, and survive. And I think the world needs that too. At its core, Only Ugly Guys is about connection, and the messiness and difficulty of finding it in this modern and often disconnected world.

*Some text adapted from my review of last summer's production.