debuted on Broadway in 1996, there was one thing all audiences could agree on: It was a totally unorthodox entry into the world of musical theater. The show jeered at the very notion of conventional storytelling. Its musical numbers were scrappy and loose. It embraced awkward pauses and performances. Most significantly, it unabashedly presented those affected by the AIDS epidemic with optimism and humanity in a time when vilification was far more common. And it was utterly beloved.
Deciding to structure the film this way was a big risk. By doing so, screenwriter Steven Levenson deviates from typical, narrative-focused material and ruptures—even sacrifices—some of its most exciting emotional beats. When Jonathan and his girlfriend Susan get in a fight that is the culmination of tension that’s been bubbling under the surface for an hour, for example, we continually cut back to a campy musical number.
But these structural choices never undermine the emotional fortitude of the film. In fact, they have quite the opposite effect. The interruptions instead allow the film to ebb and flow—to bubble and then break, to ripple with the discomfort and awkwardness of real life.
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