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Batting 1000
Stages× batty Bat Boy: The Musical× a treat
for any holiday
By Chuck Perroncel
He picks up his CheezWhiz, coffee singles, a carton
of Marlboros, and some pickled herring. He×s done the week×s grocery
shopping. It×s 1:43 a.m. He gets to the only open checkout line to
find that others with munchies have camped there while the clerk runs price
checks on five items. He×s a mellow soul. He glances at the candy bars
and gum; deciding he should add several of each to his basket. Then, what
to do? He picks up one of the many and highly respected tabloidsthe Weekly
World News!
At first he approaches the curious article seriously.
It×s possible there was a boy discovered naked in a deep West Virginia
cave with the features of a boy and those of a bat. It×s possible that
the town×s folk have startled and very mixed reactions to this creature.
But then the involuntary smiles begin to tug the corners of his mouth up
toward his ears. It is a bit less likely that the local veterinarian×s
family would adopt× him, right? Or that their daughter would fall in
love with him. Soon he×s giggling. Each partial column spread over
five pages becomes more and more outrageously funny...and then incredibly
dark.
When the clerk finally coos Next!× he is doubled
over and falling down. He×s got to share this with his buddy Brian
(Flemming). Brian will certainly see the mythic possibilities of operatic
proportions nestled in the terse and all too serious account of this backwoods
event that could only be set in West Virginia. From here on it×s all
tongue in cheek. But for this guy, with the highly improbable name of Keythe
Farley (not Keith or Kieth or even a designer Keath), he knows how really
bizarre the oddments of this world can be.
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Scott Sowinski as the Bat Boy. Photo by Bruce Bennett |
So Keythe and buddy Brian compose a few songs and
play them at parties for friends, just for innocent fun. The friends like
the songs. They joke about turning it into an opera. You are smart enough
to know your limits1a few party songs, that×s all,× they say.
So you call in Laurence O×Keefe (who has some
really successful Broadway stuff under his belt) to write real Musical Theater
Songs. And then, wowweeee! You have a $1.7 million production of Bat Boy:
The Musical opening in New York!
Taking far fewer liberties with the truth than
those of the Weekly World News, that×s about how it happened. And now
it×s here, at Stages Repertory Theatre, through Jan 11 under the directorial
hand of experimental and daring Brian Jucha of New York.
Let×s be honest. The plot is pretty lame×
as my respectful theater alter ego, Robert, says. But it×s no lamer
than the plot of A Midsummer Night×s Dream. And so, the characters
are bargain basement posterboard. But wait! The set (from the hands and
mind of Kirk Markley (of Blood Wedding, The Pavilion, Old Wicked Songs and
a prize collection of outstanding sets) measures up to that of a high school
senior class play and the production company can×t even get the strange
curtain to work. The actors have trouble with their blood capsules and there
are lots of them. Leave the little ones at home to watch something non-violent
on the TV. The special effects jam. You just gotta shake your head.
So why does the audience titter, giggle, laugh
and roar from beginning to end, non-stop? Here×s why: The wonderfully
witty songs and the sure and resounding singers, the deft choreography of
their movement, the absolutely clear presentation that they are spoofing,
and the orchestra ably led by Stephen Jones with a great ensemble [Mr. Bundy,
put these guys under contract as your house band if you can. They×re
sensational!] make BB: TM a ya better see it× show. Even if this very
professional theater can×t work out the technical bugs I found distracting,
you×d still better see it.
It×s operaand with opera, who the hell cares
about the set, the characters or even the story? As Verdi says, the key
to judging an opera is Does it grind?× Are the tunes fun enough and
fetching enough to catch the attention of the folk on the street listening
to the hurdy-gurdy? These tunes are, and then some.
And the castwhat a splendid group of buffoons!
Scott Sowinski (Bat Boy) has a Mr Bean× innocence and an acrobat×s
litheness as containers for a truly stupendous voice. Kara Greenberg (Meredith
Parker) demonstrates her vocal and acting command of the boffo style required
to play her role with sympathy and let us know that she×s spoofing.
Brandon Peters (Dr. Thomas Parker, DVM) almost has us hissing his diabolical
character. Cute as a button Erin Simpson (Shelly Parker) is so convincingly
bratty and adolescently romantic as to make us listen to and delight in
her big voice. And kudos to the large cast; there×s not a weak link
in the bunch as they play two or three characters with on-stage costume
and gender changes. Their singing is outstanding and their clowning is a
delight.
So, if you think you×d enjoy an evening of
wonderful acting, singing and music which tells the tale of Ma Barker and
her sons meet Dracula, meets Li×l Abner, meets Romeo & Juliet and
Hamlet, meets Ibsen×s Public Enemy, meets Martha Stewart (OK, I was
just messin× with ya, they don×t meet Martha) then well yourself
over to Stages for a funfunfun night. And, after all, maybe it was just
a bad night with the mechanics.
Stages presents Bat Boy: The Musical, through Jan.
11. 3201 Allen Parkway in Houston. Tickets: $25. Info: 713-527-0220.
Posted December 11, 2003
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