The torch song gets its name from the phrase “carrying a torch” – which isn’t a phrase that’s used a great deal anymore. If one carries a torch. it means that you feel passion, devotion, or loving tenderness toward someone. In a torch song, that passion and loving tenderness is often unrequited. It evokes the feelings of someone who might be called a hopeless romantic—someone who longs for a loving relationship that somehow never quite seems to materialize. Marin Theatre’s revival of Harvey Fierstein’s”Torch Song” is a mix of sweet notes combined with some that are slightly off-key.

Fierstein’s play was originally produced in 1981 as “Torch Song Trilogy”—a four hour long combination of three one-act plays. It was revised in 2017, trimmed down to a running time of just under three hours. It’s a significant piece of theatre and a snapshot of a time before AIDS—and indeed before America became more accepting of the LGBTQ community. The main character, Arnold Beckoff, longs for a deep, long-lasting relationship—not so much a hopeless, but a hopeful romantic—and we can’t help but root for him.

As Arnold, Dean Linnard is pitch perfect. His performance is compelling, deftly mixing hilarity and pathos—and every moment with him rings true. Equally good is Joe Ayers as David, Arnold’s adopted son. Patrick Andrew Jones is fine as Ed, Arnold’s bisexual ex—as iare Kina Kantor as Ed’s wife Laurel and Edric Young as Arnold’s much younger partner, Alan. Nancy Carlin, a competent actress, does well as Arnold’s mother, Mrs. Beckoff, but seems disconnected from Arnold. She plays their scenes together directly to the audience rather than paying attention to her acting partner. This may be a directorial decision, intended to stress the lack of communication between Arnold and his mother, but to me it seemed stagey and off-putting. 

Evren Odcikin directs the piece to mixed results. Some scenes need a bit more pace, while others rush when they should breathe a bit. Scenic Designer Sarah Phykitt’s sets don’t quite work, especially when we move into Arnold’s apartment in the second act. Jessie Amoroso’s costumes work well, and Ray Oppenheimer’s lighting design is effective.

So what we are left with is an uneven production. Some elements and performances work well, while others left me wanting something more—or different. It was still a pleasure to see Dean Linnard’s excellent work. He just needed a bit more support to make the show truly sing.

“Torch Song” continues at Marin Theatre through June 2nd. For further information click here.

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Rating: ** 1/2 (For an explanation of Theatrestorm’s rating scale, click here.)
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