Brokeback Mountain

I must admit that I've never watched the film Brokeback Mountain, featuring Jake Gyllenhaal and Heath Ledger, and this might actually work to my advantage as I delve into Ashley Robinson's narrative. While Robinson's 90-minute play with no intermission sticks close to Proulx's original and shares some similarities with the 2005 movie, it is far from a direct adaptation. This allows me to approach the story with fresh eyes, free from the controversies and critical debates surrounding the portrayal of two traditional masculine figures—cowboys—who challenge and redefine long-established archetypes in Hollywood, and from the influence of a stellar cast.

The central theme of Proulx's story is Ennis and Jack's inability to openly share their feelings, living in an era where men feared divulging a desire to love within a same-sex relationship. After leaving Brokeback Mountain, the two men assimilate back into traditional roles of marrying a woman and having children. They reunite after four years when Jack visits Ennis at his home, where the two rekindle their relationship. Neither the play nor the film delves into the backstory that might explain why Ennis and Jack develop a deep attraction to each other. Instead, the narrative conveys a subtler perspective, gently hinting that their feelings are not merely the result of circumstances—of being lonely and isolated from others on Brokeback Mountain, which altered their outlook, living in a landscape of extreme rural poverty—but rather a natural expression of their identities and emotions, allowing the audience to understand their bond, and hidden love spaning twenty years, reflecting the true essence of who they are.   

In a theatrical twist, Robinson incorporates a lively musical element into the play. Calling it a play with music, having the musicians so close to the stage initially catches the audience off guard, or it may have been just me; however, she brilliantly blends songs into the production, and as the melodies interweave into the narrative, it becomes clear that the songs enrich the storytelling while enhancing the romance and drama on stage. Kat Eggleston's angelic voice, combined with the musicians' heavenly sounds from Jacob Yates, Paul Mertens, Tom McGettrick, Mary Halm, copyist Ryan Blihovde, and music contractor Heather Boehm, masterfully draws the audience into the performance. It's a different approach, and it mostly works for this production; however, it doesn't truly add to the overall sluggish vibe.

The performances by Harrison Ball as Ennis Del Mar and Jack Cameron Kay as Jack Twist were convincing, capturing the essence of their characters while conveying their emotional anguish, grief, and a wistful yet unfulfilled, unattainable longing for a real life together during the era of "Counterculture" that did not fully accept same-sex relationships, especially in Wyoming. Although Brokeback Mountain is a fictional location of Proulx's short story, Wyoming was a state that strictly criminalized homosexual acts, and LGBTQ+ people faced severe societal stigma and legal persecution. The state repealed its anti-sodomy law in 1977. There were moments in the play when their delivery and stage chemistry felt somewhat lifeless, with a slow-burn tempo that failed to match the emotional intensity you would expect from a narrative dealing with inner conflict and physical and emotional intimacy, which has been a recurring criticism of the stage play. Cordelia Dewdney provides her usual solid performance, with her customary strength and compelling dialogue. The cast also features solid performances by Thomas Cox, Alina Jennie Taber, and Kat Eggleston, who was the Balladdeer and, to save a few bucks, also played Jack's mother. The staging is designed to mimic the rugged mountainous region, featuring a minimal platform with elements of a house with a bedroom, kitchen, campfire, and a tent, which serve as the primary setting for most performances. The space is also arranged to stimulate the wilderness of Wyoming, inviting the audience to feel as though they are stepping into a portion of Brokeback Mountain.

Brokeback Mountain is sure to earn top honors from its devoted fans, yet it carries an air of lethargy that can dim its narrative. The production feels as if it lags at times, calling for a faster pace and a dash of vibrancy to truly captivate its audience.

⭐⭐1/2

Chicago Shakespeare Theater

Brokeback Mountain

A play by Ashley Robinson

Based on Annie Proulx's Short Story

Sings by Dan Gillespie Sells

Directed by Jonathan Butterell

MAY 28 –JUN 28, 2026

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