Displaying items by tag: Casey Coppess

I think I’d better begin by answering some questions, starting with ‘WTF is the title of this show?’ to which I respond, the title actually is "[title of show]."

The play was conceived by a pair of artists in NYC, Jeff Bowen (Jonah Cochin) and Hunter Bell (Casey Coppess). Upon learning of the upcoming New York Musical Theatre Festival, they decide to write and submit a musical. There’s just a few problems with doing that: (1) the Festival is only three weeks away, and (2) they’re determined to write an original rather than an adaptation, but (3) they have no idea what to write about, or even (4) what to name their musical. Coming right down to the wire without a name, they end up using the space on the application form asking for [Title of Show] and name their musical [title of show].

Early attempts clearly illustrate that Hunter and Jeff truly do not have any idea what their musical should be about … not until they realize that their conversations about what to write are more interesting than what they’re actually writing! And thus it happens that these Two Nobodies from New York write a musical about two guys writing a musical about two guys writing a musical.

Shannon McEldowney (left), Jonah Cochin, Robert Ollis (at keyboard), Lexi Alioto, and Casey Coppess .

Jeff and Hunter ask their friends Susan (Lexi Alioto) and Heidi (Shannon McEldowney) to help, as well as Larry (Robert Ollis) to man the keyboard. The four converse and natter and brainstorm, kibitz, palaver and schmooze via a slew of hysterically funny songs, discussing the complexities of receiving money for art (is it success or selling out?) and the problems of loyalties vs. practicalities, learning unexpected lessons about themselves along the way.

I think you could call this a QueerMoot. Actually I don’t know if you could or not but I just did, so it’s done.

If you have any friends of the theatrical persuasion, you will find them depicted in [title of show] by Jeff, Hunter, Susan and/or Heidi; not surprising, as all four characters are (were?) (have been?) real people. I don’t know about Larry … we don’t get to learn much about Larry, who the Union prohibits from speaking any lines. But he sure knows his way around the eighty-eights!

The choreography by Britta Lynn Schlicht was lively and fresh, and wonderfully executed by the cast. It did, however, occasionally hinder hearing. I was ready to blame that on my rock-concert-impaired old ears, until my younger companion admitted having the same problem, from Casey Coppess in particular. I couldn’t tell if this was a problem with miking or with blocking, but I suggest both Director Jay Espano and Sound Designer Valerio Torretta Gardner take a look at this issue.

Props Designer Izadorius Tortuga and Scenic Designer Anshika Pathak wisely used restraint, keeping the set minimalist and letting the play tell the story. I have to give a shoutout for Aidan Lynn Smith, whose Lighting Design skillfully delimited separate scenes; and even louder shout to Projections Designer Joel Zishuk. His projections created an informative background for many scenes, but the piece de resistance was a kaleidoscopic panorama of the Playbill covers from a bazillion musicals!

The entire production crew was ably supported by Michael Lasswell (Technical Director / Scenic Design Consultant / My Favorite Bio Writer), Assistant Music Director Annie Liu, and Assistant Director Taylor Pasche. I once asked a theatrical friend ‘just what does a Stage Manager do, anyway?’, to which they responded ‘Everything.’ Kate Schnetzer assisted Julia Witty in doing Everything, and well.

[title of show] is running at PrideArts Theater at 4139 N Broadway, Chicago, through September 22 and comes recommended.