One of the biggest ball jugglers in Hollywood presently is Ryan Murphy. After the success afforded to him creating the global hit series Glee, Murphy has gone on to become one of the most sought-after and in demand talents.

Currently he has no less than seven shows still airing on US TV, all of which he created and acts as executive producer on. It’s no wonder then that Netflix wanted to lure him in, which they did in 2018 with a five year development deal worth a reputed $300 million.

This film, based on a 1968 off-Broadway play, written by Mart Crowley who co-wrote this version with Ned Martel, is part of that lucrative deal, and proves that said boys can still make some noise.

Trying to get his New York apartment ready for a party later that evening is Michael (Jim Parsons). He is throwing the bash for his friend Harold (Zachary Quinto), and all their gang is invited.

But just as he’s still in the preparations stage, Michael gets a call out of the blue; it’s his old college roommate Alan (Brian Hutchison), who just so happens to be in the city, and sounds in distress so Michael invites him over for a chat.

He did tell Alan that he couldn’t stay long however, as he was having some friends over. What Michael neglected to tell him was that all his friends are gay, as is he. It’s no surprise then that Michael is keen to keep these two worlds very much a part.

Despite his best efforts, that’s exactly what happens when Alan arrives with the party in full swing. His arrival not only causes a stir, but also acts as a catalyst for some uncomfortable honesty for all concerned.

This is the second outing, as it were, for Crowley’s play to be adapted for the screen, with the first being released in 1970, starring the original off-Broadway cast, directed by none other than William Friedkin, who would go on to direct the classics The French Connection and The Exorcist.

This version echoes the original by also have the original cast and director of the 2018 Broadway revival, return for the film version.

It’s no wonder that Joe Mantello’s screen adaptation feels staged. But on top of that it comes across as rather dense; there is a large cast presence throughout, all with plenty to say and therefore dialogue heavy, and all taking place in a confined space. The result is a little on the claustrophobic side, with what can feel like the air being sucked out of the tiny room with so much going on.

And considering Mantello’s background of theatre directing it’s no surprise, particularly when you consider that his only other film directing credit was in 1997, which was also based on a play. That’s not to say he does a bad job, but it is rather stifling in places.

One of the signs of the great writing presented here however is how Crowley’s dialogue hasn’t really aged. The film is still set in the late sixties, but it wouldn't take much to have it transposed to modern day. Obviously the LGBT movement has come on leaps and bounds since then, but the hatred towards their community by a few narrow-minded fools is sadly still very much evident today.

His dialogue is still scissor-sharp and acerbic, with plenty of catty and cruel exchanges zipping through the air. In truth, it does become a little exhausting, especially as it become more vicious as the film goes on, which adds to a fairly deflated ending.

Considering the Broadway cast all appear here, you do have an ensemble act that truly know their stuff, which flames some memorable performances, particularly from Jim Parsons, as well as Andrew Rannells, Robin de Jesūs, Michael Benjamin Washington and Tuc Watkins, who his exceptionally restrained as Hank.

It certainly must have been a no brainer for Murphy to include this production as part of his Netflix deal, with so little to do except shoot the thing, which is probably why he’s paid the biggest of bucks.

Although Boys in the Band should also be commended for having an all gay cast, which is certainly not something Hollywood delivers on a regular basis, it’s not necessarily a gay film; it’s a film that deals with the universal themes of friendship and love, and the complications that come from them, so themes that very much band us together.

There’s no denying a cast that’s on fine form, but there is a chance that this production might come across as rather on the congested side, that may have benefitted from one or two departing the band, leaving more room for some solo acts.

That said, Crowley’s vision still resonates, with an ensemble cast well and truly in the groove.