He doesn’t enjoy promiscuity, or see it as a political project, so it’s easier for him to tell other gay men to be celibate. But he’s also so confrontational because he has a trust fund, and no job to lose were he to come out of the closet. Ned Weeks, Larry Kramer’s autobiographical stand-in, burns with such rage and fear because, as a Jew, he sees echoes of the Holocaust in the world turning its back on gays. The play also deftly dramatizes how differences in class shape the various characters perspectives. Within those arguments about procedure is a complicated back-and-forth about how confrontational, how direct, how, well, artless, an advocacy organization can be. But all of these so-called problems are actually the key to the play’s power. It is, at times, openly self-serving, and the dialogue can be artless and blunt. Its arguments are often about the logistics of fundraising, or the text on a letterhead. It’s a procedural about founding and running a nonprofit organization. On some level-the level of conventional taste, perhaps- The Normal Heart shouldn’t work.
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