“Let’s Put On A Show (About A Show! (About A Show!)!

Executive Director of PhillyGayCalendar

Though snow blankets a massive swath of the nation, this month of January is possibly harshest on the Great White Way, as productions shutter for good rather than face the cold post-holiday season of decreased attendance and diminishing returns. This year was particularly unkind, cutting down shows both star-studded and barebones. Indeed, the only sure-things right now are the warhorse family musicals and, improbably, Spiderman: Turn Off the Dark, which, at a cost of $65 million and counting is Broadway’s most expensive show ever. Budgets and special effects are considerably more modest a few miles southward where Philadelphia’s Mauckingbird Theatre Company’s production of [title of show], a musical with 4 actors, one instrument, and no airborn superheroes, opened on Wednesday.

A simple show with a simple premise–four friends try to write a musical in three weeks–[title of show] actually had a surprising but brief Broadway run two years ago. In the newly renovated UPstairs at the Adrienne space, the unabashedly insider-y show is given a charming, intimate presentation in its regional premiere.

Under the energetic direction of company Artistic Director Peter Reynolds, [title of show] is a free-wheeling, funny tribute to joys of making theater for people who love theater. It features five incredible performances from local talent. And it’s highly recommended, even though [title of show], the musical, is not that great.

Make no mistake, [title of show], with a book by Hunter Bell and music and lyrics by Jeff Bowen, both Obie Award winners, is a lot of fun. But the well-worn premise is, well, worn.

The plot, a familiar little chestnut with a postmodern twist goes something like this: two gay, theater-loving friends named Hunter (played by Michael Phillip O’Brien) and Jeff (Ben Dribble) decide to collaborate on a new musical for the New York Musical Theatre Festival. They have three weeks to come up with something original. They decide to write a musical about two friends named Hunter and Jeff writing a musical about two friends named Hunter and Jeff writing a musical.

They’re joined by two singing pals: Heidi(Kim Carson), a struggling actress of the Sutton Foster mold, and Susan (Kate Brennan), a more quirky type currently being stifled by a job in corporate America.

And that’s about it. There is no sub-plot; there are no romantic liaisons. The idea of watching a show about the creation of the very show one is watching is a fascinating one, but in this instance it gets a bit creaky rather quickly. There are plenty of very funny bits and songs that mine every possible bit of comedy from the meta-premise, but this not The Great New Broadway Musical. To be fair, it never says it aspires to be, but everything from structure to tongue-in-cheek references to its earnest finale straddles the fine line between satire and out-and-out imitation.

For this reason, the extraordinary performances by the four leads—with musical accompaniment and some hilarious deadpan from Musical Director Mat Wright–are even more remarkable. In their capable hands, what starts off as all jokes, winks and nudges achieves a surprising emotional relevance.

[title of show], like it’s arch title, relies a bit too much on its surface cleverness, seldom diving deeper. Bell’s very funny book adeptly draws the underemployed artistic characters quick and unique strokes. Bowen’s songs, however, are simple and repetitive, exploring themes–both musical and dramatic–that have been tread to greater effect in other shows, most notably Jonathan Larsen’s tick, tick… boom. It’s no surprise, then that every song of aspiration, determination and perspiration starts to sound like a version of “What You Own”, the great duet from Larsen’s more famous show, Rent. There seems to be an internal struggle to create something meaningful going on, but that aspect remains largely unexplored. But just as the “let’s put on a show!” tropes start to seem a bit old and one is tempted to check the time to see how much longer before everyone lives happily ever after, something magical happens. It’s in this shift that [title of show] transforms from what Hunter calls a series of sketches to a fully realized evening of theater.

Though it’s presented without an intermission because of its non-stop pace and 90-minute running time, it follows a traditional two-act structure. In what would be the second act, the show is accepted by the Festival, enjoys a successful run, and then, improbably, transfers off-Broadway—mirroring events that happened to the real production. And then, just when you’re expecting the meteoric rise of four scrappy kids who just want to sing to reach that Great White Way, the show closes and just like that they’re back to their old lives. And it’s in this change that the true heart of this production comes through. The fun in this show comes easily in the form of the flurry of meta-textual jokes (the show has references seemingly every Broadway show, including itself) and knowing asides (there’s a musical moment that riffs Into the Woods brilliantly) it’s only when reality intrudes on this true story that it starts to feel like a real musical.

Throughout it all, however, the four leads comport themselves superbly. O’Brien’s Hunter is by far the showiest part and the actor, who won a Barrymore Award for the truly remarkable do-wop musical Avenue X last season, is clearly up for the challenge. O’Brien sings, dances and slides effortlessly from gut-busting comedy to heart-wrenching drama. It’s an amazing performance and is matched by Dribble’s more reserved Jeff. The two have such an easy chemistry and such obvious talent that their duets–like the seemingly absurd “Blank Paper” in which Jeff is teased by a rapping sheet of paper played by O’Brien–are the highlights of the show.

Brennan, in the zanier supporting role, also shines. Her Susan, insecure, neurotic, weird, and worldly is wholly unique and immediately lovable. Brennan’s performance is so accessible that when she is finally allowed a solo midway through the show, it’s a revelation. The same is true of Carson, who is absolutely perfect as Heidi. The actress has an easy grace, some very funny moments and her gorgeous voice is put to great use in the 11 o’clock number “A Way Back to Then”

The production is ably supported by Wright, whose Larry becomes a full-fledged character by the end. Also of note is Brandon McShaffrey’s busy choreography, which works just as hard as any of the performers. Taking a cue from the jokey script, McShaffrey throws references to everything from Les Miz to Chicago on the stage and the result is nothing short of hilarious.

Mauckingbird has made a name for itself by producing gay-themed professional theater wherein the sexuality of the characters is integral but not all-encompassing, leaving room for character development and expression. As the company’s first musical, [title of show] is a fine addition. Superbly produced and performed, it’s an enjoyably brisk evening and a sign of even greater things to come for this promising company.

[title of show] runs through January 30, 2011 at Upstairs at The Adrienne Theatre. Tickets are $25, $20 for seniors, $15 for students. For more information call 215-923-8909.

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