“Gods & Monsters” Evokes Tragedy & Laughter in Gay Hollywood Life—at NCTC
Donald Currie and Jason M. Blackwell. Photos by Lois Tema
Tom Mullen Conjures Movie Magic from Frankenstein to Show Boat
by Sergio Martinez Rey & Barry David Horwitz
“Gods & Monsters,” a skillful and magisterially performed new play, depicts the life of famed movie director James Whale, who created Frankenstein, Bride of Frankenstein, and Show Boat—all classics.
Tom Mullen has adapted Christopher Bram’s 1995 novel about Whale into a biographical drama full of heart. Mullen’s play amplifies the Oscar-winning movie, also called Gods and Monsters. The play is sensual and intriguing, striking a chord between 50s McCarthyism and our present political crisis.
Tyler Aguallo, Francine Torres, and Donald Currie
With Maya Linke’s dynamic stage design, Lana Palmer’s outstanding video effects, and five superb performances, “Gods & Monsters” transports us to old Hollywood—a gay Sunset Boulevard.
The play vividly depicts 50s political and sexual oppression, happening again today. When Maria (endearing Francine Torres) and Clayton (pitch-perfect Jason M. Blackwell) reveal the oppression of Mexican Americans and African Americans, we feel a shudder of recognition.
Maria and Clayton’s scenes expose the continuing racism against Black and Latinx people. Playwright Mullen exposes vicious racial and gay prejudice in his gripping and timely play, brilliantly.
The show swirls around Donald Currie’s profound, touching portrait of director James Whale, who changed the face of movies. Magnificently, Currie crafts Whale as a complex, multilayered older gay Brit, afflicted with brain fever and painful memories of the trenches of WWI. At every moment, Currie crafts a character trapped by gay hatred and social rejection, a dynamic and sensitive creation.
Donald Currie, Tyler Aguallo, and Jason M. Blackwell
Currie’s physical comedy, drunk at a Hollywood party, or talking to star-struck student Edmund Kay (sparkling Tyler Aguallo), feels fresh and funny. Their interchange exposes the tyranny of gay oppression.
Blackwell’s Clayton Boone, an ex-Marine turned gardener, becomes a compelling character, both contained and powerful. Boone builds Clayton slowly, from restraint to rapture. As Currie tries to draw him and get him to reveal his body, we get to see Boone blossom—vulnerable, naked, and noble. A magnificent portrayal by Blackwell.
When Whale’s former lover David (bold David Lee) comforts confused Whale, the play unveils the fear that pervades their gay lives. Watching the twists and turns of gay, Black, and Mexican sufferers, we realize that the haters are the real monsters.
Still, one of the most remarkable achievements of this tragic and powerful production is the exceptional role of humor. Aguallo, Currie, and Torres display comedic genius, pushing the wittiness to new heights.
Ryan Lee and Francine Torres
College student Edmund’s awkwardness and naivete, and housekeeper Maria’s sharpness and stubbornness heighten our intimate engagement. The high comedy of Edmund's hilarious interview/striptease and Clayton’s marijuana-enhanced conversations deepen their confrontations.
Outstanding performances, imbued with fear and frustration, lead us to understand that vulnerability leads us to eye-to-eye humanity. We see the connections in clips from Whale’s movies, including Paul Robeson singing “Old Man River” in Show Boat.
A wonderful and tragic symphony, “Gods & Monsters” amuses and alerts us to a wider world. “Gods & Monsters” reminds us of the power of art in the face of erasure and oblivion. See “Gods & Monsters” for a great night of theater, a delightful revelation of the connections that can save us.
“Gods & Monsters” —based on the novel by Christopher Bram, written & adapted by Tom Mullen, directed by M. Graham Smith, set designed by Maya Linke, sound & projections by Lana Palmer, lighting by Justin A. Partier, and costumes by Bethany Flores Deal, at NCTC, San Francisco.
Info: nctcsf.org – to April 5, 2026.
Cast: Tyler Aguallo, Jason M. Blackwell, Donald Currie, Ryan Lee, and Francine Torres.
