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- <text id=93TT1258>
- <title>
- Mar. 22, 1993: Reviews:Theater
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- Mar. 22, 1993 Can Animals Think
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- REVIEWS, Page 75
- THEATER
- A Journey into Moral Chaos
- </hdr>
- <body>
- <p>By WILLIAM A. HENRY III
- </p>
- <qt>
- <l>TITLE: AVEN'U BOYS</l>
- <l>AUTHOR: Frank Pugliese</l>
- <l>WHERE: Off-Broadway</l>
- </qt>
- <p> THE BOTTOM LINE: Vivid vignettes of racial and sexual
- violence among the urban poor announce the arrival of a gifted
- writer.
- </p>
- <p> Works of art about the underclass almost always entrap
- both creators and audiences in moral ambiguity. No matter how
- determined not to condescend, artists and spectators all but
- inevitably feel an anthropological distance from their subjects.
- This holds especially true in the theater, a medium the
- underclass is apt to avoid as alien and unaffordable. Certainly,
- few playgoers at Aven'U Boys, a violent and vivid series of
- vignettes set in Brooklyn, New York, that debuted off-Broadway
- last week, appear to share the despondent, nihilistic
- subliteracy of the title trio of Italian Americans in their late
- teens (played, with terrifying conviction, by actors looking a
- decade older).
- </p>
- <p> Spectators may connect more easily with the wives and
- girlfriends, who are more self-aware and pragmatically
- optimistic. But from the opening, when the boys demonstrate
- masochistic macho by withstanding each other's punches, to the
- climax, when all three are beaten, bruised and begging for
- unattainable forgiveness from their women, Aven'U Boys is a
- voyeur's journey into moral chaos. Sex is easy and often kinky--the toughest of the boys has a secret taste for transvestites
- and whippings--but in this world, love is an embarrassment.
- </p>
- <p> In tempo, fervor and construction, the piece resembles
- rock video. There is little plot and less sequence: it is hard
- to distinguish the present from the profuse flashbacks, yet it
- doesn't seem to matter. This may not be a cohesive play, but
- Frank Pugliese, 29, has the distinctive voice and emotive power
- of a true playwright. His unifying theme is race. Before the
- action begins, the boys have fatally stomped a black man who
- invaded their turf to buy a sandwich. They seem capable of
- redemption: the brightest (Adrian Pasdar) falls passionately if
- shamefacedly for a black woman (Cynthia Martells). But in this
- hateful world any such union is doomed. Its miserable end is a
- reminder that integration has failed, that Brooklyn and many
- places like it remain ready to explode.
- </p>
-
- </body>
- </article>
- </text>
-
-