“Thief River,” now showing at the Guthrie Lab until March 10, explores a homosexual relationship between two rural Minnesota farm boys, Gil and Ray, which spans 50 years. The play flashes between three episodes of their relationship-the night of their senior prom, their meeting at age 43 and finally, their reunion as 71-year-olds. Written by Lee Blessing, “Thief River” is a welcome home of sorts for the Minnesota-born author.

Gil and Ray are forced apart on the fateful night of the senior prom. Talking in the early morning, a homophobic drifter discovers and attempts to kill the couple, which, although they survive, drives Gil away from Thief River. Their love affair continues but is restricted to letters.

Ray stays home and suppresses his homosexuality, marrying his longtime girlfriend, fathering a child and taking care of the farm. Nevertheless, he secretly writes Gil every day for 25 years, hiding his feelings from everyone else.

Gil, in contrast, leads an openly gay life. He lives in Brooklyn Center and dates many men but never finds one to replace Ray. Despite joining the gay rights movement and nursing friends with AIDS, he ultimately ends up alone.

Some of the play’s most hilarious and tragic scenes involve these aspects of Gil’s life. Gil brings Kit, a typically 70s style camp queer decked out in tight bell-bottoms, matching denim jacket and aviator sunglasses, to Thief River with him. Kit runs all over the stage, whining about his hatred for farms, throwing a fit and finally purring that he is going to “climb the floor” as he slowly crawls across it. Alternately, we see him bloody in Gil’s arms because Ray Jr., Ray’s son, has beaten him because he is gay.

The play forces the audience to confront the history of homosexual intolerance by addressing the quandary many gays find themselves in- whether to risk ostracism by being open about their sexuality or to stay silent and reap the reward of social security and stability. It also examines the differences between rural and city life. For example, it portrays country towns as isolating and stigmatizing to non-conforming residents.

The acting is excellent. Aside from portraying either Ray or Gil at one stage in their lives, each actor plays an additional character. The transitions between different personalities were magnificent-the diction, mannerisms and attitude were distinct and seamlessly interwoven. Most notable were Richard Ooms’ shifts from 71 year-old Gil to Perry, Ray’s conservative but “tolerant” father-in-law and Bard Goodrich’s transitions from Gil at 18 to Jody, Ray’s modern-day slacker grandson.

“Thief River” is a wonderful play. It by no means attempts to be a play that speaks for every homosexual. It does, however, examine an aspect of the homosexual experience in a touching, intriguing and thoughtful manner.