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Kansas City's Online Journal of the Performing Arts

The Unicorn Theatre opened their 37^th season with [title of show], a fresh new musical that wowed Broadway. Written by the creative team of Jeff Bowen (music and lyrics) and Hunter Bell (book), it is a smart, sassy show that chronicles the creative process, the struggles of collaboration, and the journey to recognition. Directed by Missy Koonce, with musical direction by Anthony T. Edwards, this production should be required viewing by every theater aficionado, artist, and musician in Kansas City.

[title of show] is a meta-musical about the real-life creators writing the musical, which happens to be the show that the Unicorn’s audience is witnessing. The creators and stars, Jeff and Hunter, are played by KC Comeaux and Seth Golay, respectively. Out-of-work songwriters, they set themselves the challenge of writing an original musical in the space of three weeks. They conscript their friends to help develop the show: Heidi (Jessalyn Kincaid), a working actor on Broadway, though primarily in chorus and understudy roles; Susan (Natalie Weaver), a corporate worker bee, full of wacky interjections and wracked with stage fright; and Larry (Anthony Edwards), the ever-present, yet overlooked, pianist. As the creative force takes over, they tackle insecurities, procrastination, criticism, hope and dreams, marketing, and the terror of blank paper.

While it starts as a gimmicky concept piece, the show quickly evolves into an examination of the struggles, pitfalls, and joys of creativity. Comeaux and Golay display a friendship and working relationship that goes deeper than drag queen names and arcane theater trivia. Kincaid adds a wistful, elfin charm coupled with her powerful and versatile voice, while Weaver delivers jaw-dropping non-sequiturs with aplomb. It’s particularly challenging to portray real-life people, but the company delivers with amiable ease and familiarity.

David Hawkinson designed the set which, while ostensibly four chairs and a keyboard, is a big factor in making the stage come to life, setting up a sparse, open space reminiscent of an artist's loft. Two TV screens at stage left added depth to phone conversation voice-overs and were very effectively used during "Monkeys and Playbills." The creative lighting design by SeifAllah Cristobal, denotes scene changes, the passage of time, and frequent breaks with reality. I loved the detail of the red light atop a distant cell tower during evening scenes.

Of course, as a musical aiming for Broadway, the music is considerably derivative. This is not distracting from the overall product, however. Bowen and Bell are trying to write a Broadway musical and ingeniously use the musical vocabulary familiar to them. The lyrics, many of which are transcribed conversations, are socially responsive, somewhat self-indulgent, New York-centric, shocking, sardonic, referential, witty, and a little bit weird. The actors are very strong vocally as individuals and as a company; they blend searing chords and interwoven lines with fluid style shifts and rapid-fire one-liners.

Three songs take this show from farcically comical to emotionally challenging. "Die, Vampire, Die" highlights the many things that hinder creativity, particularly stifling self-doubt. With tears in her eyes, Weaver leads the company to blast away the crippling inner voices. Kincaid shines in “I Am Playing Me”, a sweet, self-realization piece, as she creates her own role after a career of acting other peoples’ parts. “Nine People’s Favorite Thing” details the philosophy of the show—if you do something you’re proud of, people will support your work.

The choreography is a tongue-and-cheek approach to typical Broadway choreography, but takes a back seat to the story and music. The movement isn’t all kick lines and jazz hands, though, and there are some inspired action, especially as Heidi dances into one scene still chomping on the pickle from the scene before. There are great moments in these little asides, from Larry ostentatiously opening his can of soda to Susan’s quip about her cigarette. Though incidental, this quirky humor is what individualizes the characters.

[title of show], while entertaining, is a complex examination of the creative process and pushes the boundaries of what constitutes theater. The Unicorn Theatre’s production grapples with these themes and presents a successful performance that is captivating, intelligent, and hilarious.

REVIEW:
Unicorn Theatre
[title of show]
Runs through October 10; Reviewed September 18^th at 8 PM
3828 Main Street, Kansas City, MO
For tickets call 816-531-PLAY or visit www.UnicornTheatre.org

Photo by Cynthia Levin and courtesy of Unicorn Theatre

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.