Her performance shows off an uptight, yet somehow understanding, catalyst for DonвЂ™s growth. Her role mainly constitutes setting up HarrisonвЂ™s character. She renders awkward neurosis and still subdues her performance enough to let Harrison shine. Holly Cole, of the Pineapple-Shaped Lamps fame, lights up Browncoat as PhilвЂ™s love interest. No matter how small the role, no performances are dialed in. The supporting cast, too, bring a certain flair to the script. HarrisonвЂ™s performance expertly sets the stage for his climactic explosion. He goes along with Jack and shows subtle signs of disdain. Meanwhile, HarrisonвЂ™s Phil demonstrates the folly of one who hasnвЂ™t mastered breaking away from JackвЂ™s tyranny. It gives him the courage to stand up to Jack. Carter exudes a boyish demeanor that turns to confidence as the play moves forward. Carter conveys DonвЂ™s evolution to the audience, a most important feat as Don has the most discernible character arc of the play. Don is the most lovable member of the stooges heвЂ™s perpetuated into adulthood with the help of his girlfriend, Lisa (Rachel Helms). Each performer seems tuned into their character, and the attention to detail given to the staging adds layers to their performances.Д¬arterвЂ™s Don offers the perfect opposition to TolerвЂ™s Jack. Don perches on the bed, the lowly Phil remains on the floor, and Jack meanders about the room, suffocating the other characters with insolence. Director Nick SmithвЂ™s blocking places the characters in three corners. Scenes when all three вЂњboysвЂќ are onstage come alive with chemistry. Yet, it avoids the trope of giving easy answers. These subversions of big statements cause the audience to wrestle with character. A lesser performer wouldвЂ™ve lingered on the line too long however, Toler blends the line in with the rest of his dialogue and gives it just enough conviction to stand out. In one scene, he delivers an understated line about not receiving attention during youth. His knowledge of the character allows him to take the role further, delving into reasons behind JackвЂ™s behavior. Toler compels as the loathable character, perfectly capturing the antagonizing, not-ready-to-grow-up, aging stoner. He constantly provokes Phil and especially Don, bringing jealousy to the forefront of his makeup. Despite having a wife, who he almost loses, he still plays his reindeer games of extended youth. His dedication to the part shines through as he showcases a desire for attention and constantly believes the odds are stacked against him. HeвЂ™s longed to take on the role of Jack since. Hank Toler discovered the play about 10 years ago as a student at the North Carolina School of the Arts. вЂњBoysвЂ™ LifeвЂќ pose the questions: Do we ever really grow up, and if we do, will that bring about happiness? The Pulitzer Prize-winning script crafts an organic trajectory and yields a somewhat unresolved ending. The production conveys a well-orchestrated balance of humor and drama.

Each player commits to their role and boasts an intricate understanding that allows the at-times despicable characters to become relatable. Meanwhile, the most schmuck-like friend, Phil (Chase Harrison), battles with rejection and a pathetic demeanor that would make even the most spineless jellyfish roll its eyes. His more evolved friend, Don (Brendan Carter), finds himself successfully settling down in a relationship, but DonвЂ™s attempts are threatened by boyish tendencies. The ringleader, Jack (Hank Toler), spends his days smoking reefer and lying about, having a kid to attract women.

вЂњBoysвЂ™ LifeвЂќ chronicles the life of three men caught somewhere between post-gradom and a life of fulfillment. It makes one ponder if itвЂ™s even worth it to strive to be a good person. The inclusion of such topics perfectly backdrop the hopelessness of the characters. Throughout the play, tiny reminders of things like Watergate, nuclear war, and the growing disconnect between people creep into conversations. вЂњBoysвЂ™ LifeвЂќ explores the result of lives that are forced into the cynicism of societal doom. Originally conceived by playwright Howard Korder in 1988, the script remains relevant today.

The character-driven piece seems tailored for the intimacy of the Browncoat and Pub Theatre. BrowncoatвЂ™s latest production, вЂњBoysвЂ™ Life,вЂќ perfectly captures this mindset. New studies have suggested that adolescence extends well into oneвЂ™s 20s.

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