This past week in the national political arena, James E. West, the mayor of Spokane, Washington, was outed as being not only gay, but for using his political caché to hire his male lovers to work within his office. What makes this whole story ironic is that West has always been a conservative Republican who just recently voted down several gay measures. Rumors and gossip had spread around Spokane for years about West's secret lifestyle, but it took a scandal to open up the Pandora's box on this man's life, which now has killed his political career.

What would have happened if he had been up front from the very beginning? Or if no one really listened to the gossip swirling around Spokane City Hall and political circles? Just the birth of one rumor can cause harm, destroying lives and relationships.

That is the original seed of Laurie Brooks' The Wrestling Season, a dramatic play that is having its Southwest premiere at the Dallas Children's Theater. Brooks takes her audience into the world of high school wrestling, where the star athlete is surrounded by rumors and gossip that he is gay and that his best friend Luke is really his boyfriend.

Had that been the main theme within Brooks' script, the play would have much more emotional depth and resonance. But she has overlaid the piece with so many subplots, issues, and themes, that not one character is truly fleshed out. In addition to homophia, Brooks throws date rape, bulimia, parental pressure, and pregnancy all into the mix. I was actually waiting for the issue of steroids to pop up at any second. There are too many social issues stuffed into the script, overwhelming the dramatic impact she is trying so desperately to achieve. The characters are so stereotyped that not one escapes the restraints to become a unique individual. We have the school tramp, the popular cheerleader, the goth, the bullies, the athlete, and the closeted gay.

Brooks had some great opportunities to truly knock down stereotypes within her play. Case in point - the gay student. In paint-by-number style, Brooks fails miserably in giving Luke strength and freedom. I mean, the guy's a wrestler, and he couldn't even defend himself from the attack he received, or at least throw a few good punches at his attackers?

To make matters worse, when Luke has his wrestling match, he loses! Had she had Luke win and the star athlete Matt lose his round, think of the many emotional colors and rich, truthful, organic character arc and development that could have come from that. This severely wounds her message and goal to teach and to give those much-needed voices their chance to overcome their barriers.

Having said that, what makes this production glow is its director and cast. René Moreno yet again proves why he is such a brilliant director. The writing may force these actors to wear the skins of "been there, done that" characterizations, but Moreno superbly keeps each actor playing each character with original, unique traits, mannerisms, and voices. That's what saves the piece. While we do see stock characters, the actors steer clearly away from "acting" like them. Moreno's intelligent, thoughtful blocking works theatrical magic around the small, intimate black box theater. He very wisely keeps the pace brisk, clean and concise.

Moreno also very tastefully balances the wrestling. Let's be honest here, the image of two muscled guys writhing, grabbing limbs, and rolling on a green mat does have a slight homoerotic vibe. But Moreno, Sara Romersberger, and their wrestling advisors have kept it extremely clean and tasteful, yet natural and realistic. The combination of Sara Romersberger's fight/movement choreography, and Joey Marzuola and Lisa Whitsett's wrestling advising adds so much to Moreno's artistic vision, in particular, the final wrestling match between Willy and Matt. Beginning with gladiator-like combat, both actors slow down like a Matrix special effect and pantomime some movements which really adds to the brutality and intensity of wrestling.

The entire cast remains on stage throughout the performance, serving as a Greek chorus to comment on or react to the action being explored center stage. One scene has them all whispering in evil, sadistic tones to the girl who is the slut of the school. It really gives the scene dramatic weight as this Greek chorus becomes blood thirsty gargoyles on this poor girl's heart.

Special laudation goes to Linda Blase's simplistic yet very purposeful lighting design. She washes the set with reds for the more intense scenes and gives various pools of stark light to single out personal comments from the actors.

Andy Bean gives a poignant, estimable performance as Matt, which never becomes complacent. Bean's subtext truly overrides the leaden writing for his character. You see a conflicted, tortured teen who is battling an array of demons within his mind and heart. Bean's detail to characterization is exceptional here. However, he truly needs at least one emotional breakdown to show more of Matt's inner demons. The arc gets so close, only to backslide towards the end. Nonetheless, you honestly feel Matt's confusion and pain with Bean's luminous performance.

As Luke, Chad Peterson gives an admirable performance. When he has his first emotional breakdown early in the play, Peterson's emotion lacks conviction and organic truth. However, as the evening progresses, he becomes much more relaxed into the character and brings out a believable, commiserative performance that rings true.

Shannon Hathaway as Heather and Marilyn Setu as Nicole are the loquacious gossip queens of the school (resembling ex-best gal pals Paris Hilton and Nicole Ritchie). Setu's character is the sidekick in Heather's world. She follows her and agrees to whatever Heather says. While both characters are written in a one-tone manner, both actresses deliver highly enjoyable performances.

Todd Haerkorn and Dane Hereford are the villains of the piece. Both cover themselves in machismo bravado as they become the Machiavellian tormentors to everyone on stage. Haerkorn and Hereford are also painted by Brooks' one color character brush, but nevertheless, both deliver solid performances.

The performances of Jennifer Knight and Amanda Johnson are stand outs. Knight is Melanie, the school slut - or is she? This actress gives the character warmth, depth, and a crystal clear subtext. Knight is incandescent as a girl who just wants to be liked. Johnson as goth Kori is the only character on stage who is logical and compassionate with everyone, regardless of their reputation or lifestyle. Johnson wisely wears Kori's heart and emotions on her sleeve, allowing the audience to truly appreciate her. How strange it is that, while she make look "odd" with her black eye shadow, dark lip gloss, raven hair, and piercings, she is the only one who speaks the truth and is the most "normal" of all of the characters. Johnson is terrific in this piece.

Finally, while he has no monologues or vocal interactions with the others, Mark Oristano is very good as the referee. He is actually the voice of reason that comments after each scene with language from the wrestling rule book, passages which have totally different meanings here.

Regardless of the tepid script, this first rate cast and director should get you out of the house for an evening of theater. Dallas Children's Theater deserves high praise for producing and mounting this production. DTC normally provides very safe, family flavored shows like The Velveteen Rabbit, Best Christmas Pageant Ever and others. I've never known of a children's theater presenting a show dealing with personal issues like this play has. At the performance I attended, an army of waist-high children surrounded me. Several were a little distracting, but I saw other kids very intently watching the play. A small girl's voice whispered behind me, "This is a very good play."

Even with the flaws in writing, if the messages of gossiping and accepting people for who or what they are reaches at least a small percentage of the kids in the audience, then DTC deserves to be applauded. My respect and admiration for DTC has risen much higher for bravely presenting this piece.

This production runs for one more week, and I insist you and your entire family see this show.

The Wrestling Season runs through May 22nd at the Studio Theater, Rosewood Center for Family Arts 5938 Skillman St., Dallas, TX 75231. Performances Friday-May 20 at 7:30 pm / Saturday May 14, 21 at 1:30 pm Sunday-May 22 at 1:30 pm & 4:30 pm. General admission ticket prices: $13 for children and $15 for adults (Group rates available for groups of 8 or more.) Online, single tickets are now available: visit www.dct.org.

The Wrestling Season by Laurie Brooks*
Dallas Children's Theatre

Directed by René Moreno
Scenic Design by Zak Herring
Lighting Design by Linda Blase
Costume Design by Leila Heise
Sound Design by Marco Salinas
Fight/Movement Choreography by Sara Romersberger
Properties Designed by Linda Blase
Wrestling Advisors - Joey Marzuola & Lisa Whitsett

CAST:

Matt...........................Andy Bean
Kori...........................Amanda Johnson
Melanie........................Jennifer Knight
Luke...........................Chad Peterson
Heather........................Shannon Hathaway
Jolt...........................Todd Haberkorn
Willy..........................Dane Hereford
Nicole.........................Marilyn Setu
Referee........................Mark Oristano

--John Garcia