By Colin Douglas
Presented this February at the Greenhouse Theater Center, Underscore Theatre Company’s Chicago Musical Theatre Festival features new musicals, each of which is presented several times during the following three weeks. This Festival is a thrilling opportunity to showcase and support the growing field of emerging new theatre artists. The three weeks will conclude with an Awards Ceremony at 7:30 on February 25. Selections include the following:
The Butcher’s Son, with book, music and lyrics by Vi Nhan H. Tran, tells the autobiographical story of a family of Vietnamese refugees. This folk musical memoir, alternately poignant and humorous, relates the Tran family’s escape from the Killing Fields of Vietnam, their imprisonment by the Khmer Rouge and their settlement among the wheat fields of Kansas. It’s a thrilling tale of survival and assimilation into a new home. The Butcher’s Son will perform February 10 at 3:00; February 14 at 8:00; February 18 at 6:00; and February 23 at 7:30.
GRINDR, the Opera, features a book, music and lyrics by Erik Ransom. It tells about four horny men, each seeking different kinds of sexual satisfaction, whose stories ultimately intersect. The gay hookup site is parodied through this exaggerated, adult, sung-through work that features musical styles from contemporary to Baroque. It’s a humorous view of the ever-changing gay dating scene. GRINDR, the Opera will perform February 9 at 10:00 pm; February 13 at 8:00; February 17 at noon; and February 23 at 10:00 pm.
Iron Irene: A Musical Fable, with a book by Liz Falstreau, music by Ashely Flanagan and lyrics by both Falstreau and Flanagan, is a post Civil War story. It tells about two sisters struggling to survive in their fight for equality and a better world. Following the death of their parents, Cass DeLanie is sent from her family home in Wisconsin to live in Wyoming with her sister Irene. Through their lives we learn how Wyoming became the first U.S. territory to grant women’s suffrage. Iron Irene: A Musical Fable will be presented February 6 at 8:00; February 11 at noon; February 16 at 7:30; and February 25 at 3:00.
Liberators: An American Musical, with book and lyrics by Eric C. Jones and music by Bradley Dean Whyte and Alex Winkler, is a rock musical about family and making a difference. Moving back and forth throughout 70 years, this musical tells a story from the viewpoints, religious and ethnic backgrounds of three different men. Connected by an heirloom pocket watch, the saga begins in WWII and travels to post 9-ll, focusing on the liberation of Buchenwald and Dachau. The musical strives to show how even the most unlikely person can always make a difference. Liberators: An American Musical will be presented February 8 at 8:00; February 11 at noon; February 17 at 8:00; and February 24 at 3:00.
Musical Therapy, featuring a book by Dan Hass and music and lyrics by Joey Katsiroubas, focuses on Theresa, a young Chicago couples counselor. Although she’s pretty good at working with other couples, Theresa isn’t having much luck with love herself. When a hunky guy named Will moves into the adjoining office, Theresa discovers she’ll do anything to arrange her own happily-ever-after. Musical Therapy will be presented February 11 at 6:00; February 16 at 10:00 pm; February 22 at 8:00; and February 24 at 8:00.
The Ballad of Lefty & Crabbe, with a book by Brian Huther, Ben Auxier and Seth Macchi and music and lyrics also by Auxier and Huther, takes place in the 1920’s, during the decline of Vaudeville and the rise of the motion picture industry. The story follows Lefty and Crabbe, a comedy team, as they strive for success in a changing world of entertainment. The Ballad of Lefty & Crabbe will be presented February 7 at 8:00; February 9 at 7:30; February 17 at 3:00; and February 18 at noon.
Tru, features a book, music and lyrics by David Gosz and Leo Fotos, is a celebration of the beauty of life, as seen through the various relationships of several individuals. We see a father and son, a grandmother and her granddaughter, an artist and her art, a student and his teacher and, finally a man and himself. Tru will be presented February 10, both at noon and 8:00; February 15 at 8:00; February 18 at 3:00; February 20 at 8:00; February 21 at 8:00; February 24 at noon.
In addition to these seven fully-staged productions, the Musical Theatre Festival will also introduce two new Workshop performances. They include Murderous Innocent, with a book by Tommy Jamerson and music and lyrics by Mark Contorno. This musical is about a successful novelist whose past comes back to haunt him and how long-buried secrets start to resurface. This workshop presentation can be seen on February 12 at 8:00.
The second workshop offering will be Notes and Letters, with book, music and lyrics by Annabelle Revak. As WWI breaks out in Europe, a young man immigrates to Chicago in 1917, where he’s employed at a piano company. There he makes friends with three of his fellow employees and their real-life relationships are set to the jazz score of the Windy City’s own music. This workshop performance will be presented February 19 at 8:00.
Our Review of GRINDR
The lights gradually dim and out of the hazy darkness steps GRINDR, a glittering, over-the-top personification of the popular hookup app that’s used by thousands of gay men everywhere. Seductively, this bewitching drag performer, bedecked throughout the 90-minute show in a variety of stunning wigs, gowns and stiletto heels, sings about the true appeal of this iPhone function. She then introduces us to four very different men, all of whom share experiences with this dating app. They’re typical of the kinds of individuals who inspire the stories that are played out in operatic style.
The very name of this app is synonymous with notoriety and sleazy sexual stalking. Created for Libertine Idol Productions by Eric Ransom, GRINDR the Opera: An Unauthorized Parody’s salacious reputation for being an electronic brothel for gay men is portrayed through his music, book and lyrics. Opera is grandiose and larger-than-life in its storytelling. It’s drama and comedy is set to sweeping musical motifs, much like Ransom’s sung-through musical revue. The score features everything from baroque to pop, danceable ditties to bitter ballads.
GRINDR is the emcee of the opera, played to perfection by Nathan Cooper as a fabulous, whimsical, slinky siren. She’s been wakened from her slumber by the tinkling of technology. Her power, derived from human lust, is exhibited in the way she manipulates her gay worshippers with her soaring soprano. She then introduces the audience to the four men who’ve currently sought her services.
The very talented and likable Nikolas Drake plays Devon, a health clinic physician, in Chicago. He’s a cautious young man who hasn’t enjoyed any close contact since his last relationship ended badly. Now that he’s discovered GRINDR, Devon’s hoping to hook up with someone new who’ll take it slow and gentle and be empathetic to his romantic expectations. He finds his Mister Right in Tom, a handsome, eager young guy, played with freshness and honesty by the talented Connor Baty. This horny, yet somewhat cynical, young man enjoys the thrill of the hunt for his one-night stands, but is immediately drawn to Devon.
Next we encounter the seductive, good-looking Jack, played with authority by Roy Samra. He’s a self-described a party boy, a Twink, who uses the app to find as many different johns as possible on any given night. On this occasion, the hunky and agile kid in short-shorts and tank top decides to hookup with Don. This daddy type isn’t just an older man who prefers younger guys; he’s a conservative, closet-case Republican, with a wife and grown son. Don, played with gusto by John Cardone, is also filled with lust and self-loathing. Whenever he finds a young man willing to do his bidding, Don’s guilt makes achieving satisfaction very difficult. Jack is immediately turned off by Don. It’s only when the older man offers Jack money that he’s willing to be used. What Jack isn’t fully aware of is the danger in which he’s about to participate.
This adult opera spoof shows great promise, both on the part of the cast, as well as the creative team who helped bring it to life. While it starts to wear a little thin about an hour into the piece, especially listening to GRINDR’s insistent falsetto, Mr. Ransom’s score sports a wide variety of humorous, adult pop tunes and poignant recitatives. Among the 26 songs are “Manhunt,” “Cum-Dumpster,” “The Hook-Up Chorus,” “Filling Out a Profile,” “Love is Versatile,” “What Fresh Hell?” and “The Tangled Web.” Directed by Rachel Klein, with musical direction by Oliver Townsend, and spirited choreography co-created by Klein and Shawn Quinlan (who also costumed this production with especial flair and finesse), the revue will have its next production this coming summer in London, England. If theatergoers haven’t been convince already, Ransom’s spicy, spunky, special parody will persuade audiences that, indeed, the internet is for porn!
The final performance of GRINDR is February 23 by Hugh Hysell and Hysell Marketing for Underscore Theatre Company’s 2018 Chicago Musical Theatre Festival at the Greenhouse Theater Center, 2257 N. Lincoln Ave., Chicago. For more information on and tickets for festival shows, click here.
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