Tanner Medding as Canvas (L.) gets “inked” by Steve Satta as Artist. Photo by Daniel Ettinger.
There are three groups of theatergoers who will particularly enjoy the Iron Crow Theatre Company’s production of Bareback Ink: aficionados of Greek mythology, gay men, and folks who appreciate a well-directed production with stellar acting performances—or any combination of these. However, if you are not in the first group, you may not comprehend the symbolism contained in the play, which could mitigate to some extent any enjoyment derived from being in the other two groups.
In true Iron Crow form, the production takes an unconventional script with edgy themes and sexuality infused throughout. Being the only queer theatre company in Baltimore, Iron Crow has consistently produced plays featuring a gay angle with some containing a good dose of homoeroticism. This production follows that model.
Bareback Ink, a play written by Bob Bartlett that appeared at the Capitol Fringe and the Edinburgh Fringe in 2012, is loosely based on the Greek mythological characters Zeus, Ganymede and Hephaestus. The all-powerful Zeus abducted the beautiful and youthful Trojan Ganymede to be his lover, controlling and raping the lad. Hephaestus, the god of fire, especially the blacksmith’s fire, was the patron of all craftsmen.
Converting this premise to a modern scenario, Bartlett writes about a mysterious powerful man who is never named nor appears on stage (the Zeus character), sending a beautiful 17 year-old boy (Ganymede character) to a tattoo artist (Hephaestus character) to get a large work of ink on his back to be a sort of rite of passage to manhood as he approaches his 18th birthday. What ensues is a perplexing blend of symbolism, intensity and erotica, and often how one gets from Point A to Point B in the plot is not always clear.
Despite the play’s lack of clarity in places, the performances by the two-man cast and the precision of the technical team under the direction of Ryan Clark make for an entertaining experience. Clark, who directed “Trick,” one of the better segments in Iron Crow’s recent The Homo Poe Show, does a superb job of helming the production.
Steve Satta, Iron Crow’s artistic director, has either directed or appeared in virtually all of the company’s plays over the past few years. In this installment, Satta plays the tattoo artist who is the object of the boy’s real affection. Throughout the play, he contends with the boy’s restlessness and sexual desires while administering the “ink” on the boy’s back. Satta turns in a solid, competent performance as the mostly low-keyed artist contrasting with and ably complimenting the boy’s hyper personality.
However, this play is the perfect vehicle to showcase the rising acting talents of Tanner Medding as the teen (or as the program lists him, Canvas). Medding, who had a breakout performance in Iron Crow’s Slipping last year, shined throughout, and if nothing else, is a reason for seeing Bareback Ink.
Playing the beautiful Ganymede-equivalent is not a stretch for Medding. Handsome, blond with a lithe torso, Medding is shirtless during most of the play making for an appealing visual, especially for those who appreciate such images. His Ganymede character is quite aware that he is the most beautiful male on earth with his swagger and words.
Bareback Ink is an interesting and creative take on mythology…
Medding displays a full range of emotions evolving into a sympathetic character who has been taken advantage of and raped throughout his youth and failing to fulfill his lust for the older, rather detached Artist. He adeptly and energetically moves about the stage, providing most of the play’s action, force and passion.
Both Satta and Medding exhibit various moments of mellowness and intensity and carry it out competently. Their on-stage chemistry is quite palpable in their performances and drives the play.
The sole setting for Bareback Ink is a basement tattoo parlor where a “club” (Mount Olympus in the mythology) symbolically exists above. It becomes a prison, in effect, for both characters, Artist in particular, physically and spiritually.
Veteran Set Designer Heather Mork created a bleak venue for the action with plain walls containing tattoo designs, a bed, footlocker, a door for the occasional entrances and exits by Canvas, a table with tattoo equipment, a chair, stool and basement windows that allow the lightning to flash through.
The presence of Zeus throughout the play is evident by the frequent thunder and lightning. Alec Lawson’s lighting design amplifies the play’s myriad emotional turns. Jessye Black effectively makes the thunder boom.
Bareback Ink is an interesting and creative take on mythology, but its strength lies in the tight direction, performances by two excellent actors and a proficient technical crew. It is recommended, but bone up on Greek mythology first.
Running Time: One hour and 30 minutes with no intermission.
Advisory: The play contains sexual situations, adult language and is not suitable for children.
Bareback Ink runs through June 14 and is performed at the Swirnow Theater, Mattin Center for the Arts, Johns Hopkins University, Charles Street & 33rd Street, Baltimore, MD 21218. For more information and ticket reservations visit online or call the Iron Crow box office at 443-637-CROW (2769).
