BOY LIFE HOWARD KORDER PDF

AS we all know well by now, the modern American man is a wonderful creature - caring, open, sensitive, a boon not only to his buddies but also to the emancipated women he formerly treated like chattel. Or so we are to believe from the past decade's worth of confessional books, magazine columns and daytime talk shows in which man after man has bravely, even tearfully, come forth to testify that, yes, guys have feelings, too, and can cook quiche as well as eat it. Being one of these swell new men myself, I probably should be offended by ''Boys' Life,'' a rude new play by Howard Korder about three male chums on the prowl for women in a present-day city that might be New York. The young men of ''Boys' Life'' will be boys, and, the title's allusion to a beloved childhood magazine notwithstanding, they're no Boy Scouts. When they are sensitive or caring, chances are they are pulling a trick, the desired result of which is to lure a woman into bed. These men think nothing of betraying one another, let alone their lovers, and, should they get married, they do so only to avoid the bother of crawling ''through the gutter to get regular sex.

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How sad to think the ugly, cynical, aggressive s in retrospect can seem almost innocent. How else to explain the fact that, back in , audiences could be needled by "Boys' Life," Howard Korder's now-trite dissection of the misanthropic male animal? By David Rooney. Related Stories.

Directed with customary vigor by Michael Greif, sharply designed by Mark Wendland on a set of mobile trailer interiors, and played by the male leads with the requisite four Cs — cravenness, cruelty, coolness and cluelessness — the production is as slick as it needs to be.

Its illustration of protracted adolescence, sexual predatoriness, selfishness, emotional insecurity and competitiveness no longer has anything fresh to teach us. And its caustic, quippish dialogue is more often glib than funny. The boys of the title are three twentysomething buddies resisting the pull toward adulthood and responsibility, still hoping idly that maturity will be handed to them with no investment required on their part.

Scanavino is eager-to-please stoner Don, who falls in love and seems to want to become an emotional adult, even if he has trouble fully convincing himself. Twenty years later, these guys and their post-adolescent limbo just seem tediously familiar. Home Film Awards. Oct 20, pm PT.

Directed by Michael Greif. Opened Oct. Reviewed Oct. More From Our Brands. BGR The 5 states with the highest number of coronavirus cases per capita. Expand the sub menu Film. Expand the sub menu TV. Expand the sub menu What To Watch. Expand the sub menu Music.

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How sad to think the ugly, cynical, aggressive s in retrospect can seem almost innocent. How else to explain the fact that, back in , audiences could be needled by "Boys' Life," Howard Korder's now-trite dissection of the misanthropic male animal? By David Rooney. Related Stories. Directed with customary vigor by Michael Greif, sharply designed by Mark Wendland on a set of mobile trailer interiors, and played by the male leads with the requisite four Cs — cravenness, cruelty, coolness and cluelessness — the production is as slick as it needs to be. Its illustration of protracted adolescence, sexual predatoriness, selfishness, emotional insecurity and competitiveness no longer has anything fresh to teach us.

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Stage: Korder's 'Boys' Life'

The rest of the noise rising beneath you is attributable to designer Mark Wendland's set pieces -- looking like gaudy trailers carnival folks might inhabit -- that roll around the stage between scenes, perhaps in a possible attempt to cover up the deficiencies of the text. Widely acclaimed when it first appeared -- and even short-listed for the Pulitzer Prize -- this minute study of three former college roommates' uneasy journey into adulthood now comes off as little more than a newer playwright trying to out-Mamet Mamet. In a series of quick, slang-talky scenes, the chronically depressed Phil Jason Biggs , pot-reliant Don Peter Scanavino , and relentlessly arch and ultimately self-loathing Jack Rhys Coiro -- all of whom have failed to mature in the years following their entry into an adult world for which they seem to have no aptitude -- wrestle verbally and physically with both each other and a series of diffident girl-women played by Michele Federer, Stephanie March, Laura-Leigh, and Paloma Guzman, all on the money. Ultimately, though, Lisa is just one of the characters unable to exit long after people in real life would have hit the dusty road -- because if they did leave, there would be no play. Or there might be a better play, because Korder would have had to acknowledge that some boys do come to their adult senses and finally leave their extended boyhood -- and their laggard friends -- behind.

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