Abraham Lincoln's Big Gay Dance Party

Homosexuality in small town America. A teacher on trial for the moral depravity of her students. Dirty politicians with high aspirations. A fourth grade Christmas pageant. These are the parts that make up the worthwhile and thought provoking whole that is Abraham Lincoln’s Big Gay Dance Party, a new play written by Aaron Loeb and directed by Chris Smith, currently being staged at Theater Row. Don’t let the campy title fool you—this theatrical firecracker is no puff piece.

The time is 2006. The place is Menard County, Illinois, 300 miles from Chicago and the hometown of Abraham Lincoln. There, a veteran teacher creates a firestorm of controversy when her re-writing of the fourth grade Christmas pageant, “Christmas with the Presidents,” includes the idea that Abraham Lincoln was gay. Her arrest and subsequent trial set the stage for this three Act political dramedy.

Three of the trial’s key players—the defense attorney, the prosecution, and a New York Times reporter—are given an Act in which to share their perspective of the events that rocked this small town, as well as their personal motivations for getting involved. As the layers unfold, many complex questions are raised by all sides: Is it fair to compare the plight of blacks and gays in their fight for equal rights? Is teaching that romantic love can exist between members of the same sex appropriate for school? Can appearing pro-gay destroy a political career and appearing anti-gay make one a political hero? For all of the potential heaviness of the questions, Mr. Loeb’s script and Mr. Smith’s direction balance sincere dramatic moments with some light hearted comic gems. The hard working and talented ensemble each take on multiple roles, easily transitioning and finding nuisance in the characters they create.

This is not to say the production is flawless. There are some, however few, moments that seem a bit gimmicky and distract from, rather than add to, the moments of genius the play provides. Some of the musical interludes, largely used for transitioning scenes, come across as silly. Perhaps using music that lyrically or emotionally supports the play’s themes would have worked better. And a running gag for reporters crashing into things off stage adds unnecessary physical comedy to a play teeming with genuine and intelligent humor.

Last season, theaters seemed to be filled with experiments in political farce (Bloody, Bloody Andrew Jackson) and gay themed dramas (Next Fall, The Pride). Abraham Lincoln’s Big Gay Dance Party stands above them as more mainstream accessible, while remaining sharp and authentic in its purpose and execution.