“Scandalous Boy” reviewed by Mark Reinecke

*** Two thousand years of standing around with no clothes on is a long time waiting to tell one’s story. And seeing a talking naked statue (spoiler alert: wearing a flesh-toned thong with strategically placed sequins) is hard to ignore. For added measure, throw in bold theatricality, political intrigue, sex, passion, love, betrayal and lust – everything you could hope for in a compelling drama – as the day-to-day ancient Roman palace of Emperor Hadrian comes to brutal and luxurious life.

Playwright David Atfield’s Scandalous Boy is principally the true story of the young Antinous and Emperor Hadrian, the most recognizable homosexual couple in Roman history. It is said that about 2,000 sculptures were produced by the emperor in his grief following Antinous’ untimely death. In famous museum collections throughout the world, more images of Antinous have survived than any figure from classical antiquity, with the exception of Augustus and Hadrian himself. This handsome Greek youth embodies the aesthetics of neoclassicism and romanticism, and has become an icon of male homosexuality.

Although Hadrian was married, ancient sources reveal that he had several homosexual relationships. These relationships were not considered unusual in ancient Rome. A Roman man was free to choose sexual partners of either gender so long as he remained the active partner in any encounter. It was therefore not unusual for Roman men to enter into sexual relationships with younger men.

Scandalous Boy, directed by Benjamin Mills, opens with Antinous (Jose Alexander Martinez) reawakening out of his chiseled stone, and hopping off his marble plinth to talk to the audience. We learn right away, Antinous, in his perfectly proportioned naked form, is very comfortable with his nakedness or wearing a pair of tight sparkling hotpants. He mocks us for our 2,000-year-old Christian attitudes and traditions regarding modesty and sexuality. And he decries Christian historians who threw him into the “shameless and scandalous” dustbin of history for his homosexuality. He now seeks to reclaim his place in history.

We get a quick glimpse of Antinous’ early life alongside a tutorial on ancient social mores. As a young, pretty boy who lost his father, Antinous is being groomed by his mother (Jinyue “Yuna” Hu in a brief cameo role), for sale into prostitution (“eromenos”) as a companion to older men for wealth and status. Renowned for his beauty, at the age of 16, he takes up with the gruff and crude Emperor of Rome, the 50-year-old Hadrian (Jordan Gleaves). Being a youthful and beautiful sex slave (or “bum boy” using the more modern vernacular) beforehand, prepares Antinous for his relationship with Hadrian.

An intense relationship between the two endure for several years. We realize youth, beauty and sex are the essence of Antinous’ offerings. And those gifts are fleeting. Time is ticking (or the sun dial is moving, to be more accurate). As Antinous ages, he does not want to be banished like all the other aging bum boys in Hadrian’s past. When Hadrian confronts this insecurity with genuine acceptance and growing love, we see Antinous’ ruthless ambition. Then there is the brutal treatment of Empress Sabina (also played by Jinyue “Yuna” Hu) and the horrendous and painful wedding night with the emperor. We learn shortly thereafter that there will be no heir to the empire, destroying what little is left of the royal marriage.

It becomes clear that Antinous is out for himself in the pursuit of power and being named Hadrian’s successor. Fearing he is becoming a little too soft around the midsection, Antinous heads off to the local gym for toning and a little wrestling. Under the risk of death, he takes up with a wrestler, Marcellus (Emiliano Flores) and soon finds love and infatuation. At the same time, Hadrian’s growing infatuation with Antinous makes him vulnerable to manipulation, which the young man exploits to the consternation of Lucius (a palace advisor, whistle blower and former lover of Hadrian, played by Antonio Cruz). Empress Sabina takes it all in with intrigue and amusement. This long-suffering wife was abandoned in the palace while Antinous accompanied the emperor openly as his lover on official visits, a manly hunting excursion and state events. Hadrian finds growing comfort in his sexual relations with Antinous and took on a more passive role (acceptance) of his deepening love.

After Antinous drowns under mysterious circumstances (using effective stage lighting by Lex Newman), Hadrian we learn was inconsolable. The emperor commemorates his lost love all over the empire with sculptures and a declaration of Antinous as a god.

Jose Alexander Martinez as Antinous makes his acting debut with solid comedic gifts; demonstrative expressions, flamboyant eye and body movements; and cocky, confident arrogance. He transforms the energy on stage, making many scenes almost comical. He is quite entertaining and engages the audience directly throughout. As he punctuates the story with his side bars, he brings understanding and context along with story-telling ability. His beautiful physical appearance and profile look very much like a carving of classical Greek sculpture.

Torn between genuine love and the brutal demands of power, Jordan Gleaves commands the stage most effectively with a mixture of ruthlessness and softness, power and submission. His innate acting skills and the sheer force of his presence on stage communicate both a powerful leader and vulnerable man. Jinyue “Yuna” Hu convincingly plays an innocent and hopeful teenage bride and ultimately a bitterly scornful and mocking empress who learns to make the most of a loveless marriage. She brings refined talent to the stage with her ability to get further inside a scene to captivate our full attention. She is a riveting, regal force and not to be messed with. Antonio Cruz and Emiliano Flores as Lucius and Marcellus respectively give the show a playful spirit and keep the production engaging.

There are important themes from classical antiquity presented in Scandalous Boy, which are relevant today and brought into a contemporary context by director Benjamin Mills and his production team. The scandal, in my mind, is simply that Hadrian actually loved Antinous and, I believe, was loved in return. This production presents enduring and difficult struggles with identity, desire, sexuality, obsession, fame, power, and societal expectations. Today, we are reminded, that many in the LGBTQ+ community live in fear for their rights and dignity and with vulnerability that comes with living authentically under oppressive political regimes.

Open Space Arts, a 501 (c) non-profit organization, is dedicated to combating homophobia and transphobia by utilizing artistic mediums to challenge discriminatory beliefs and attitudes. This was my first show at Open Space Arts. Its work empowers all of us and makes Chicago a better place.

Open Space Arts is a member of the League of Chicago Theaters, Chicago Alliance of Film Festivals, LGBT Chamber of Commerce of Illinois, and the Uptown Chamber of Commerce.

This production includes depictions of sexual content, nonconsensual acts, and physical violence. Under 100 minutes without intermission.

Through June 28, 2025
Fridays and Saturdays at 7:30 pm, Sundays at 6:00 pm
Open Space Arts
1411 W. Wilson Ave., Chicago
Tickets $30.00 general, $25.00 seniors and students
Website: www.openspacearts.org

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