Thus it is a homosexual play, not a play about homosexuality. Crowley Gay Boy Biutiful White tell from the dust stirred up by actors stampeding in the opposite direction. In those homophobic Dark Ages, any gay role was considered career suicide, and The Boys in the Band required a sacrifice of nine. Ironically the first boy to join this band—Laurence Luckinbill, now 83—was, and is, straight. Even she suggested that Luckinbill pass on the play. He liked the play and knew instinctively that it would have a helluva social impact on the times. I was a graduate student, and he was an undergraduate, at Catholic U in Washington, D. I always had a close feeling about him. Crowley often visited Luckinbill in Fort Smith, Ark. It was summertime, and we talked a lot about our families, because we both came from substance-abusing homes. There was a lot of that stuff going on then. These days Luckinbill is in the throes of writing a memoir, which he is calling modestly but quite correctly Famous Enough. He had the play cradled to his breast like a baby. It was the story of his life, and some people were actually repelled by it. He told me that he had even had a very hard time just getting anyone to read it. He nearly Gay Boy Biutiful White. After agreeing to do the play, there was the awkward Gay Boy Biutiful White of deciding which part to do. Luckinbill first had his eye on the meaty lead role of Michael, the mean-drunk host from hell who puts his guests through very cruel hoops and loops. Crowley nixed the idea. Again, no. What Crowley had in mind was Hank, the guy Larry is cuckolding. Luckinbill was less than thrilled. That role was a godsend. Over Gay Boy Biutiful White 50 years, numerous men have come up and thanked me for Hank. Hank is something of a cerebral center at this calamitous clambake, a hunk of quiet authority puffing away pensively on a pipe like an island unto himself, assessing the collateral damage around him. The pipe was the prop Luckinbill brought to the part. I never ever smoked a cigarette. Audiences who came to observe the intimacy onstage never knew that they were also being scoped by the cast from offstage, thanks to some skills Luckinbill picked up at college. There were plenty: Jackie O, Mayor Lindsay, Nureyev, Marlene, Groucho, and so on. One audience also included a couple of conservative Catholic Southerners, Mr. Luckinbill of Fort Smith, Ark. It was funny. The original nine Boys in the Band stuck together like Krazy Glue for every run that came up during its first three years—a rarity in the business. Cliff Gorman, who minced memorably as the extravagantly effete Emory, had no idea that what he was doing was funny until the first workshop performance at a tiny little closet of a theatre called the Vandam; initially, the audience uproar made Gorman think the scenery was falling down behind him. The workshop was scheduled for only five performances, but the morning after the first one, Luckinbill came out of his Sullivan Street apartment and saw a huge crowd of men standing in the street, forming a line that extended from Sixth Avenue across Houston Street and into the Village. Every one of them was gay. Overnight, the word had gone out that there was something happening downtown that represented them. The closet door flung open, and those men stood there. Having the original cast on hand emphatically helped—and that only happened because Crowley dug in his heels. Hollywood producer Ray Stark threw stars and cash at him, proposing the likes of Rock Hudson, Tab Hunter, Roddy McDowall, et al. In the interim the plague claimed a majority of the cast. The birthday boy himself Leonard Frey, 49 followed next, in Producer Richard Barr died at 71 inand two of the party guests—Donald Frederick Combs, 57 and Larry Keith Prentice, 52 —died just eight days apart in September Gorman, who won an Obie for playing Emory and subsequently a Tony for his work in Lennysuccumbed to leukemia at 65 in
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