The Habit of Art

Habit of Art couldn’t be more different from Tommy if it tried! The fact that I enjoyed both equally well says a lot not only for the talented people involved, but it also says a great deal about Randy’s ability to take not only challenging roles, but diverse ones too!

I’m afraid a lot of what I have t say will be very similar to what my friend has already reported, as it turns out we were sitting on the same side of the stage and for a good portion of the time when “Tim” is off stage we could only see glimpses of Randy.

The theater is a nice size, holding just over 200 people, but it still felt “intimate,” as the folks at The Studio Theater had said! And there were only a scattering of empty seats. The set was just so visually appealing in its chaos. Arranged to show the haphazard and messy lifestyle of the poet Auden, it was wonderful in its detail. Record albums – yes, REAL albums – including Peter Grimes, Maurice Chevalier, and what I assume was Noel Coward peeking out from behind books, dishes, and discarded clothes… but it was also made to appear as a stage in progress for the play-within-a-play with small signs indicating where the “bath” and “sink” would be installed and spiral staircase that led to an upper portion where Britten plays his piano. Also, the mugs the binders the stage managers use, the chairs all have the “NT” for National Theater insignia. The attention to detail is wonderful.

Oh, and anther really great detail…instead of the traditional red EXIT sign seen over doors here in the US, a British green “running man”  sign is installed over the door where the actors enter and leave. That made me smile as on a trip to Ireland a few years back we took a silly photo imitating the running man by a door   in a museum! ;p 

Anyway… the rehearsal theme is continually reinforced by the placing of both the stage manager’s and author’s tables in the area in front of the stage. The actors and “actors” use the space to move on and off stage as well.

Randy first appeared carrying a bicycle on his shoulder, wearing a grey Adidas sweat jacket w/ neon yellow stripes, grey sneakers, leather fingerless gloves, a racing helmet and he was carrying an orange backpack. When he came in, he was a bit flushed and looked like he really could have just biked to the theater... he even had a strip around his pants’ leg to keep it from getting snagged in a bicycle chain.

I really liked Randy as Tim… he definitely conveyed the uneasiness that Tim feels not only about his age – during one break Kate the stage manager asks him if he’s wearing makeup. He does a great blush and says something like, “just a little.” See he is 29, and still playing a young “rent boy.” LOL! But Tim is also a bit in awe of the veteran actors on stage I think. He was very sweet as he quietly asks if they would be doing the “sucking off” scene… whispering so the boy playing the choir boy doesn’t hear. Of course, the actor playing Fitz has no problem announcing it loud and clear… so then everyone asks, “Is Charlie OK?”

“Stuart” first appears wearing his leather jacket and looking rather tentative and asking for Mr. “Owden,” (His cockney accent was superb!) explaining that he was supposed to be there at “ten past.” But Auden isn’t there, just two people attempting to clean up the apartment. Stuart is worried and wants them to make sure Auden knows that he was there on time. Stuart wants to stay and wait, because he’s “got clients and schedules too,” so Randy plops in the nearest chair… but Boyle, the man cleaning the apartment won’t have it, because there are things and… typewriters in the apartment! LOL!

Stuart returns later but before he does, Henry who’s playing Britten, explains that rent boys were recognized by the little bags they carried for baby oil, towels, and other accessories. They hand Tim a mesh bag with what looked like a bottle of water, a sleeve of crackers and a pink bandana… so Stuart returns with his bag, anxious to repeat that he had been there on time.

While waiting he listens to Auden and his biographer discussing Robert Frost and then adds, “And Phillip Larkin.” They all turn to look at him confused asking is that Stuart? He sheepishly replies, “No. Sorry. Me.” explaining that they learned about Larkin in A-Level. It got a nice laugh from the audience, but this is important because it sets up part of the theme that we see later on, that as a rent boy, Stuart couldn’t  possibly be cultured enough to know that. Randy, as Tim looks sufficiently insulted.

Stuart doesn’t like the biographer Carpenter, and shows impatience by fidgeting on the stage. Finally he says outright that since Auden is too polite to ask him to leave, he will do it instead and essentially tells him to leave… gives Stuart a smug sense of self-importance.

He and Auden then get down to discussing their “business,” Stuart asking if he should take off his clothes, because “you might like it,” but Auden says it wastes too much time. Stuart is surprised that he’s not the one that has to do the “sucking off,” because you know it’s “Usually the other way ‘round.” Auden even asks how they should accomplish it and Stuart says he usually gets on his knees… but that won’t work for Auden.

This is where Randy climbs on the chair with his back to the audience and drops his jeans to reveal those lovely black boxer briefs! The scene now goes back to the rehearsal when the author interjects with a about why question they have Stuart dropping his pants as he feels the last scene with a completely naked Stuart will be more effective… Fitz complains about looking at Tim “listless, but I’m sure not uncomely genitalia.” To which Tim replies, he could do something about the listless part. The rather enthusiastic crowd really enjoyed these scenes.

The author of the play who has been watching the goings on once again interrupts the rehearsal to ask about how far the scenes are going, because he hadn’t written them this way. The stage manager once again gives her now stock response of, “We’ll talk about it tomorrow.” Watching Randy as Tim responding to these stoppages with a myriad of facial expressions is just delightful. The eye rolls, the puffed out cheeks, the head tilts, the confused eyebrows... He does so much with a character even when there isn’t much to do!

By now Auden has decided that it is too late for any kind of sucking, and he and Stuart have a talk about dicks… including how Stuart gets a better class of client working at the University than he does at the bus station and how many of his clients are uncircumcised. (There were more at the bus station than the University) and Stuart is amazed that one can have a civilized conversation about dicks!

After another stop for Carpenter the biographer to have a small hissy fit about his role in the play, once again watching Tim roll his eyes and shake his head at the antics was great. But when the dialogue resumes, we get our first indication of the human side of Stuart… that he resent s being called a rent boy, because it’s what he does, not who he is.

Stuart makes his exit for Act I as Britten leaves, stopping to ask Auden about his wrinkled face, (he has a condition called Touraine-Solente-Gole) saying that it makes him seem distinguished. Fitz has actually requested a mask be made in Auden’s likeness. It is probably one of the creepiest masks I have seen, great for Halloween! And all the other actors are gaping at it in disbelief.

At this point in the play we have the most continuous exchange between the characters Auden and Britten without going back to the inside play, although at one point Fitz falls asleep and the others, including Randy as Tim all come to the front of the stage to laugh.

Act II begins with Donald as Carpenter, still valiantly trying to get his character to have more impact by playing up the biographer’s other talents, struts on stage in a blond wig with an “up-do,” and long royal blue velvet evening gown playing Doris the Goddess of the wind on a small tuba! The entire cast is dumbfounded with mouths hanging open.

The rehearsal begins at the same point where Act I left off with a rather extensive exchange between Britten and Auden, where they discuss Britten’s new opera that he has come to Auden for help with… which means Randy is off stage as Tim. He sits quietly reading from what looks like an iPad, maybe sends a text, drinks from his water bottle, occasionally exchanging glances and smiles with the other actors who are going to and from the stage. He plays with his hair and in a very “Justin” move, absent mindedly bites on his thumbnail.

Carpenter reenters the action claiming that it’s because of his biography that these men are remembered. This leads to the discussion of the contributions of playwrights and composers vs. actors. At one point the stage manager mentions something “Alec did.” Tim asks, “Alec who?”NO one really answers him, but they do give him knowing looks and he shakes his head and goes, “Oh.” (They are referring to Alec Guinness.)

Randy prepares for the transformation from Tim to Stuart by donning the leather jacket and doing some warm up stretches, knee bends and facial contortions… not all that unlike what I saw randy do before Margaret, A Tyger’s Heart.

When Stuart does return it is as Britten is preparing to leave… he says his next client told him that he should come back because Auden was a great man, so he is excited and animated and exclaims that he will have something to tell his grandchildren about. Auden says it depends on whether Stuart will have grandchildren.  Stuart responds, “Oh, yes. This is just a phase,” as he shrugs and waves his arms.

But Auden continues and calls Stuart a rent boy, to which Stuart angrily demands that he not be called that. He goes on to describe his last client, a perfect English Gentleman, with books and “proper paintings, not prints,” and lamps and well, just picture a typical English study. Stuart can’t believe that the man told him to come back to Auden’s as he turns scans the apartment, asking rather incredulously about why he should comeback to this shit heap.

At this point Fitz questions the author about giving Stuart too much humanity… the cast and Randy groan at the delay, and Tim questions whether he was playing the scene incorrectly.

When the rehearsal resumes, Auden leaves the room and leaves Stuart and Britten together. Randy does a great job of making Stuart look uncomfortable talking with Britten… although he considers him to be more normal and “You don’t smell.”  It is here that Stuart addresses the audience for the first time explaining that things were much easier at the bus station, because there you didn’t have to talk.

There is a poignant scene where Carpenter asks what Stuart could offer to Britten, as most of the boys he was with had some sort musical talent. But he says all Stuart could offer is his dick.  Stuart replies rather despondently, “Don’t you think I know that?”

Britten leaves but the actor returns as Boyle the servant bringing Auden dinner which he offers to Stuart. It looked like a breaded chicken cutlet that he begins to eat while smugly waving his glass at Boyle for some wine. Boyle brings the bottle but pointedly does not pour Stuart a glass, instead Stuart pours it himself, filling it to the absolute brim. He offers Boyle a sarcastic, “Good night,” with a full mouth and a wicked smile on his face.

As Stuart eats Auden continues the conversation, questioning Stuart about his innocence to which he replies naively, “Innocent of what? I haven’t done anything.” When asked if he blamed anyone for his current situation, once again eying the apartment, Stuart wants to know if Auden does. He also wrinkles his nose as he looks around and complains that no one should stink. He then address the audience a second time stating that he wishes he had had the foresight to ask more question of these great men, as he now has come to know exactly who they were.

At this point Fitz as Auden argues that the play should end with Auden reciting one of his poems, but the author explains that this is where Stuart, as Caliban, needs to finish the play. As Fitz has interrupted yet again, the cast, now completely without patience, groans and huffs, moans at the stoppage. Randy turns away grabbing his head and then rubbing his face in frustration.

Stuart address the audience a third time, as Auden interrupts once more… leaving everyone just ready to give up, throwing their hands up  in complete frustration. When they finally agree that the scene should run, Tim asks, “Am I taking my clothes off?” Auden is annoyed, saying no one would look anywhere else, but even thought the author insists it must be done because that is the way Stuart as Caliban shows that , “This is all I have.” Kate once again says, “Tomorrow.”

Stuart then gives an amazing and touching monologue imploring to the great men in the room that he should “figure,” he should matter, even though he is only a rent boy. He wants to know what they know; bemoaning the fact that he “doesn’t even know what he doesn’t know.” He pleads to be allowed in, to be allowed to join.

Randy was so impassioned as he moved from man to man begging of them that he does matter and pleading to be counted… I choked up watching it. When they all turn their backs on him telling him they can’t help him, the looks of despair on Randy’s face brought me to tears. The play-within-the-play ends when Stuart leaves as Britten plays Show Me the Way to Go Home…

The actors then begin to pack up and leave, Tim stopping to ask Fitz if he will be alright and then inviting Henry to the pub. (This scene playing on the idea that as Britten, Henry was asking about taking Stuart as one of his boys.) Tim grabs his jacket and his helmet and bike and they head off.

The last scene belongs to Kate as she waxes poetic about actors and theaters and authors and slowly shuts the lights as she looks lovingly at the stage… because for all her frustration she really does love the theater and probably can’t wait until tomorrow.