|Photo by Joseph Marzullo/WENN|
"Any burlesque theatre in America was full of funny goings-on," says Tony winner Lane, referencing his latest role as gay burlesque performer Chauncey Miles in The Nance—a new dark comedy from Tony nominee Douglas Carter Beane, currently playing the Lyceum Theatre.
Known for his customary wit and ability to arm his characters with diamond-tipped one-liners, Beane is charting darker, more personal territory with The Nance, which takes its title from the effeminate male or homosexual stock character featured in the burlesque sketches that were a prominent form of American entertainment from the mid-1800s through the early 1940s.
"There was what has been referred to – I always enjoy this phrase," Lane laughs slyly, "as the 'Pansy Craze' of the 1920s and early '30s." He is referring to actors like Gene Malin, known for such songs as "I'd Rather Be Spanish (Than Mannish)" and what Lane calls a "lovely number" titled "That's What's the Matter with Me."
The Nance is set within the flickering decline of Manhattan's burlesque scene in the late '30s, as Mayor Fiorello LaGuardia set out to clean up what he considered some of Gotham's less desirable aspects in anticipation of the World's Fair. Chauncey, whose headlining performance as the Nance begins to draw gay crowds to the theatre, finds himself to be persona non grata in this new apple-cheeked Big Apple.
"It was daring to actually be gay on stage," Lane says. Throughout the play's burlesque sketches, Chauncey is questioned, "Are you a Nance?" to which he replies, "Doesn't necessarily mean I'm a bad person."
Meanwhile, offstage, "he leads a life where he goes to the automat... and tries to pick up a straight guy, has sex, and sends them on their way. That's all he wants," Lane says.
"Even in today's gay culture people do not realize how difficult it was for people in the '30s and '40s, not only to get together, but to be decent, to have a life, to not feel marginalized," says Tony-winning director Jack O'Brien. The irony is that Chauncey is permitted to play in drag, which city officials considered masquerade however, portraying "a big sissy," according to O'Brien, was viewed as perverse.
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