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Kansas City's Online Journal of the Performing Arts

 "Bare" is directed by Jeff Church and produced by the Unicorn Theatre. The show follows the story of Jason, played by Brandon Sollenberger, the All-American high school boy who has a secret love affair with his best friend Peter, played by KC Comeaux. The show closely imitates Shakespeare's "Romeo and Juliet," ironically the very play our characters are attempting to perform, as impulses and secrets quickly spiral toward tragedy. Rounded out by a stellar supporting cast, the show is one unashamedly honest moment after another.

The structure of the show seemed very much like a traditional opera. Characters advance the plot through individual interaction, with the occasional larger scene. Most of the show was sung. I hardly noticed, because every lyric had a specific purpose. Each character knew exactly whom he or she is singing to, and what each wanted. I could appreciate the power and beauty of the music, but I could also appreciate that with each song, the plot was propelled forward.

Anthony T. Edwards directed the music and also conducted the very visible band. Edwards and the three other band members were as much a part of the story as the actors, often wandering into a scene and seamlessly returning to their instruments upstage. This connection created a laid-back, collaborative atmosphere that provided a nice contrast to the high drama of the story.

The play offered a provocative, powerful story that is accessible to young adults. Never do creators Damon Intrabartolo and Jon Hartmere try to insert gratuitous "hipness" or comic relief into the tale. It just happens. Nor are they clueless to the struggles of young adults. On the contrary: This story has happened in a thousand different ways to countless teenagers.

Brandon Sollenberger's Jason was alternately cautious and impulsive. His easy smile quickly charmed the audience, which made it all the more heartbreaking when Jason makes some very big mistakes.

KC Comeaux played Peter as a passionate young man who must find a way to come out to his mother. KC's scene with the priest toward the end was so lovely and sad I couldn't help but cry.

Areli Gil played Jason's sister, Nadia, who struggles with her feelings of isolation, but also provided much of the play's humor. Gil effectively mirrors the rejection that everyone feels at some point in his or her life.

Katie Karel's performance as the overtly sexual Ivy could have easily fallen into cliché, but she avoided that pitfall and turned in a performance that was brave and honest.

All of the cast members played their parts beautifully. I wish I had space to recognize them all, but in lieu of a very long list, I will say that each performer added something special and unique to the story.

The technical aspects of the show mirror the title. There is little set to speak of, only a few benches, music stands, a wooden frame and some risers. Designed by Gary Mosby, the set is functional and directs the focus toward the characters. Props are mimed. Costumes are simple, and the actors provided parts of the school uniforms themselves. (One cast member found skirts she had worn at her own Catholic high school for the women.) My favorite costume piece appeared in a dream sequence where a Diana Ross-type figure was wearing a floating robe made entirely of plastic grocery sacks. This strangely beautiful garb was conceived and built (I am told) by Frankie Krainz, who coordinated the costumes along with Cheryl Benge.

The sparse scenery and props were not the original intent. However, due to the current financial climate the Unicorn had two choices: severely cut the budget or choose another show. They chose the former, and many of their plans were scrapped. The smaller budget was a blessing in disguise, for it made the show simply about the characters and not about the location or wardrobe. The most interesting thing, however, is that many of the technical aspects, including more than 500 lighting and sound cues, were created by professional volunteers who wanted to help the project succeed. To mention only a few: Jarrett Bertoncin was the lighting designer, Benjamin G. Stickels did the sound design, and Todd Schnake was the fight choreographer.

This was the first performance I have seen at the Unicorn. As a Kansas City native and a theatre lover, that is shameful, and I am kicking myself now. I adored this show. Please support "Bare" at the Unicorn Theatre.

REVIEW:
The unicorn Theatre
Bare
Runs Runs April 24 - May 17
For tickets call 816-531-PLAY or online at www.UnicornTheatre.org