Skip to main content

Review: Torch Song (NYC)

int(100224)
iPhoto caption: Cast of Torch Song. Photo by Joan Marcus
/By / Nov 26, 2017
SHARE

Torch Song

2nd Stage Theatre

Written by Harvey Fierstein. Directed by Moisés Kaufman. At Tony Kiser Theatre (NYC). Runs until December 9.

Playwright Harvey Fierstein’s poignant Torch Song is just as moving and prescient today as it was in 1982, when it was first done under the title Torch Song Trilogy.

Fierstein revised it into a two-act comedy/drama, but it still deals with Arnold Beckoff (Michael Urie) an effervescent gay drag queen, singer of torch songs, living in New York City in the late 1970s and early 80s. Arnold laments how hard it is to find true love and, even when he does, his intended is still not sure if he’s straight or gay or both. When Arnold’s hilarious, sharp-tongued Ma (Mercedes Ruehl) suggests that Arnold could have chosen to live “the straight life,” you could hear the audience sucking in air, all of us shocked at how deluded she was. That uninformed mindset is almost as prevalent now as it was then.

Urie is buoyant, lively, quick-witted, and brimming with the good nature, which makes him a mark for disappointment and being hurt in a relationship. His scenes with Ruehl crackle with perfect timing as the good-natured barbs whiz through the air like ping-pong balls hit by masters. Every stare from her is a look of judgement, albeit love-filled. Arnold receives it all with patience and good humour.

Fierstein’s play deals with the weighty matters of the heart: finding love and contentment in life, coping with disappointment and loss, recognizing good fortune when it comes. He writes mainly of the gay life in Torch Song. But Fierstein is really writing for all of us.

For tickets or more information, click here.

Lynn Slotkin
WRITTEN BY

Lynn Slotkin

Lynn is the former theatre critic for Intermission, and currently writes reviews on her blog The Slotkin Letter. She also does theatre reviews, interviews, and commentary for CIUT Friday Morning (89.5 FM). She was a theatre reviewer for CBC's Here and Now for ten years. On average, she sees 280 shows a year.

LEARN MORE

Comments

Leave a Comment

Your email address will not be published. Required fields are marked *


/
Adam Francis Proulx, Elm Reyes, Kay-Ann Ward in a Toronto Fringe Festival promo photo by Joy Adeola. iPhoto caption: Adam Francis Proulx, Elm Reyes, Kay-Ann Ward in a Fringe promo photo by Joy Adeola.

REVIEWS: Toronto Fringe Festival 2025

This collection of Toronto Fringe Festival capsule reviews will be updated throughout the festival with writing from 20 different critics.

Masae Day, Landon Doak, Michelle Fisk in 'The Wind Coming Over the Sea.' iPhoto caption: Masae Day, Landon Doak, and Michelle Fisk in 'The Wind Coming Over the Sea.' Photo by Lyon Smith.

REVIEW: A new Emma Donoghue musical takes root at the Blyth Festival

As a resident of southwestern Ontario, what struck me most is how deeply rooted in the region The Wind Coming Over the Sea feels. It's a lively reminder of the cultural inheritances that continue to shape the area today.

By Deanne Kearney
The cast of 'Major Barbara.' iPhoto caption: The cast of 'Major Barbara.' Photo by David Cooper.

REVIEW: Shaw Festival’s metatheatrical Major Barbara is sharp and subversive

Director Peter Hinton-Davis draws on a light smattering of Brechtian techniques — acknowledgements of artifice that enrich and vivify Major Barbara’s clash of morals.

By Liam Donovan
The company of Talk is Free Theatre's 'The Frogs.' iPhoto caption: The company of 'The Frogs.' Photo by Dahlia Katz.

REVIEW: In Barrie, Talk Is Free Theatre delivers well-crafted outdoor staging of rare Sondheim musical The Frogs

Staged inches from the audience by director Griffin Hewitt, the show commendably captures the free-wheeling, anarchic spirit of the text. It’s a toad-ally great opportunity to see this rarity in the froggy flesh.

By Ilana Lucas
Jeff Lillico as Ralph with Yoshie Bancroft as Mitsue in 'Forgiveness.' iPhoto caption: Jeff Lillico as Ralph with Yoshie Bancroft as Mitsue in 'Forgiveness.' Photo by David Hou.

REVIEW: Stratford Festival’s Forgiveness tells a deeply personal story on a sprawling scale

Presented in an increasingly tense political moment, Forgiveness resonates on a level that is part reflection, part warning.

By Charlotte Lilley
Promo photo for Tim Crouch's An Oak Tree. iPhoto caption: Photo courtesy of Luminato Festival.

REVIEW: Is Tim Crouch’s An Oak Tree worth seeing twice at Luminato?

Crouch tests the limits of theatrical representation, improvisation, and authorship. While I’m usually a sucker for exactly those types of experiments, I ultimately found An Oak Tree a bit underwhelming.

By Ryan Borochovitz