My eighth and last entry covering this year’s NYMF discusses the final two new musical productions and a recap of my choices for Best of Fest.
My Real Mother – Production
Adoption is the subject matter of the musical My Real Mother. Infant Sara (Rachel Hirschfeld) is adopted by Alaina (Elena Shadow). Alex (Katie LaMark) is the woman who decides to give her child up when her relationship with her boyfriend goes sour. Sara narrates the tale of her two mothers, often observing the action. The messaging is geared towards pulling the heartstrings: “love grows in a heart not in a womb.”
Alex is living with Duncan (Ryan Morales) who is studying hard and preparing for a career. At the beginning of this story, she gets pregnant and he convinces her to have an abortion. The regret is immediate. She gets pregnant again. This time is not an accident, however. Duncan still wants nothing to do with a baby at this time in his life.
Alaina has two children from a previous bad marriage. She and new husband Jason (Kevin Schuering) decide to adopt. In a number with a very fun idea, they consider the right candidate in “March of the Potentials.” Alaina and Alex create a strong bond and during the pregnancy they go shopping and get their nails done. As you would predict, trouble develops after the baby is born.
The interesting aspects of this story are the messy conflicts which develop between these characters. The tension between a birth mother and the adoptive parents. Older children viewing their stepfather critically as he finally has his own child. The boyfriend who is “Played the Fool” and tricked into the pregnancy. It’s messy stuff and engaging.
The staging by Misti B. Willis seems like a combination of student assembly presentation and group therapy session. Adopted Sara is the narrator but not really a fully fleshed out person. Most of the characters flip flop in their opinions which can be true to life as situations change. Here, however, the abrupt shifts sometimes strain credibility during the more sketchily drawn sections. The song “Demons” between Alaina and husband Jason feels forced and incongruous with the rest of this show.
My Real Mother ends on a happy note with the song “Open.” The healing occurs. “Open is a mirror you should not use in dim light.” Thanks to two very nice, emotionally rich performances by the mothers, Ms. Shaddow and Ms. LaMark, this production allows a glimpse into what this show could be with further development.
Chance – Production
Gregory is a fifty year old gay man searching online for a male escort at the beginning of Chance. He is classically obsessed with old Hollywood. His apartment is adorned with homages to the period. A painting of The Lady is his spirit guide. She appears in the flesh singing “Somethin’ Cooked Up In Your Mind.” What is Gregory cooking up? Lust is the answer. The Lady is a real as the boy on his computer screen. The illusions draw you in early but the creepiness factor is worrisome. Photos of the shirtless escort named Chance are projected. Where is this story going?
When Gregory goes to Chance’s apartment, the scene is awkward in a good way. What then emerges is a very introspective chamber piece between these three characters. Both men are dealing with demons in their head. Gregory is on a hospital stretcher at the opening of the show. Richard Isen’s book, music and lyrics will fill us in on those details in a believably melodramatic way.
Director Nicolas Minas did a wonderful job setting the locations and transitions. Floor to ceiling fabric created space and scene changes but also allowed for projected imagery. Grant Richards was exceptionally fine as a youthful and damaged Chance. His “Lands End” moment was wrought with complexity. The song produced a deep connection to an individual who may have been simply arrogant and superficial.
The opening of the second act between Lady and Gregory was the only section of this musical which fell flat. Gregory’s Buddhist experience led to some clunky ill-fitting one liners such as “don’t you watch Oprah?” The Lady replies, “I adore opera.”
Tad Wilson was a fine Gregory; older, wiser and still searching for happiness. Terry Lavell was memorable as The Lady and had the single best costume in the festival – the white dress in Act II. There were hints at old Hollywood glamour and style which could be further explored with a lighter touch. This show may work even better as a film which juxtaposes the visual elegance of melodramas from yesterday with the grittiness of gay life today. Chance was definitely a worthwhile, atmospheric experience.
Best of Fest
The audience gets a vote for the Best of Fest for the various different types of musical presentations in NYMF. There is also a committee which presents awards for the best musicals, scores, actors and creative elements. Here are my picks this year.
Reading
The Disappearing Man was a fully realized story about a traveling circus during the Great Depression. The characters were flawed and memorable. With a terrific score, I would love to see a full production where the circus can come to town.
My choice for Best Reading of the festival is Kafka’s Metamorphosis. This musical presented this famous novella about a salesman turned cockroach coupled with an overview of Kafka’s life story. The absurdist tone of the author flowed throughout the show. The darkness of his familial relationships were ingeniously made comedic. I sat in an audience that was visibly smiling through the entire performance.
Production
Flying Lessons was a delightful show about a young girl and the pressures of growing up. Relationships with her mom, her teachers and schoolmates were mined for dramatic and comedic effect. A book report assignment anchors this show about discovering what greatness is and how one person can aspire to such an achievement. The characters were memorable, the laughs were frequent and the lessons were relevant and heartfelt.
My selection for Best Production is Buried. An unusual and deftly conceived piece, this musical explored an emotional relationship between two individuals who feel marginalized on the outskirts of society. That they were serial killers was the quirky angle chosen. The book was extremely fine, expertly balancing tension with comedy. The music had gorgeous melodies and was often haunting. The cast from the University of Sheffield showed the heights than can be reached with an exceptionally talented ensemble.
The links to my reviews of these four worthwhile musicals:
theaterreviewfrommyseat/thedisappearingman
theaterreviewsfrommyseat/kafkasmetamorphosis
theaterreviewsfrommyseat/flying lessons