Continuing my 2018 journey through the new musicals presented at NYMF, I’m struck by the topicality and relevance of the themes being explored. During the last month, I found myself in the middle of a conversation between privileged white people who were quite annoyed by the confusion of gender identity labels. I understand how hard it might seem to find pronouns so easily misunderstood these days. Two musicals ask us to consider this conversation from a different point-of-view. Perhaps rather than worrying about being criticized for calling someone a “they” instead of a “she” or a “he,” we consider applying some empathy (a sadly vanishing art) towards the individuals struggling through their complicated emotional development.
Interstate (Production)
Melissa Li and Kit Yan have written a solidly constructed musical about a lesbian and a transgendered poet (male identified) who have found success as a musical duo called Queer Malady. Interstate asks and answers the question, “Can I make a life out of queer poetry?” Interstate is the road tour journey these two (Jon Viktor Corpuz and Angel Lin) take across the United States. Along the way, we meet their parents, record company executives, small minded locals and, most importantly, their online fans. One of whom is Henry, a high school girl just coming to terms with her newly shared trans identity. Sushma Saha inhabits Henry so completely that the emotional depth of the show is significantly deepened well beyond the semi-formulaic band-on-the-road trials and tribulations. Her song “I Don’t Look” brings us deeply into her personal challenges. The score is quite good and “Loser Dumplings” and “Everything Changes” were particularly fine. Kudos to Andreas Wyder (radio talk show host, priest, drag performer) for outstanding ensemble character work. Overall, Interstate delivers on its promise to flood the stage with empathy, inspiration and a large dose of heartfelt feelings.
Wonder Boi (Reading)
Another musical about transgendered youth, Wonder Boi adds a superhero element for an interesting juxtaposition between an indestructible self-healing body versus body image issues. J. Jarrett wrote this musical and there are some effective songs such as “When He Flies” and “White Shoelaces.” The plot, however, is wildly overwrought with a sister who is sort of a depressed nutty mad scientist. Think Dr. Jekyll spliced into an afterschool special. In this show attention is focused on gender defining labels and getting them accurate (the lecturing can admittedly be somewhat annoying). The dialogue veers from fun to preachy and back again so I was never really invested in any of the characters. Fun example: “Am I Wonder Boi? No I’m Wonder Boi? That makes sense… you’ve always had a savior complex.” But there are far more lines like: “I’ve been homesick for a body I’ve never been in” and “you can’t blame your selfishness on being trans.” Subtle metaphors stay away: “Why is my Lemony Snicket book falling apart? Why aren’t we built with better bindings?” For me, Wonder Boi never achieved liftoff.
Pedro Pan (Production)
Rebecca Aparico and Stephen Anthony Elkins wrote this musical based on the real events of Operation Pedro Pan. From 1960 to 1962, more than 14,000 Cuban children arrived in the United States without their parents to escape the growing fears of communist indoctrination. Given today’s news cycle, Pedro Pan could hardly be more relevant. What begins as a promising idea with Cuban flavor quickly turns generic. “We Won’t Stand Out” could be a song in any show. Peter Pan is Pedro’s favorite book and it is referenced throughout resulting in dialogue like “if only you believe then you can fly.” One of his new friends is even named Wendy. Thankfully the three friends have nice chemistry while they try to navigate the by-the-book schoolyard abuse. One great multi-dimensional performance by Natalie Toro as Pedro’s Tia Lily provided some of the depth this material needed about the struggle of immigrants assimilating into American culture. Pedro Pan considers our country. “Isn’t America the land of immigrants? Yeah, but only the kind they like.” Both topical and timely, I wish I liked this show more than I did.