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Title of Show- gay musical theatre
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Issa Best Dan Dinero Contemporary Musical Theater
Two Gays In New York.
To say that musical theatre is a gay genre would be a gross understatement.
Aside from the flamboyant scenic elements, encouraging divas, love stories that
almost always work themselves out, and employing probably the majority of gay
men in New York City, at its core musical theatre constantly is a platform to say
what cannot be expressed. The beauty in the genre is that when words can no
longer suffice for emotions, characters can explode what they hold inside through
song, and when that isn’t enough, they can dance. However for closeted gay men,
lights, costumes and orchestra are not readily available when not knowing how to
express the fact they like boys, so they escape to musical theatre where they can.
Despite the similarities between the genre and feelings attached with bring gay,
there are few musicals that actually confront and celebrate the idea of musical
theatre being a gay genre. Sure there are passing jokes on the trope, but full
musicals that don’t mock or try to hide the fact that a gay man likes a musical, and
actual works to explore the fantasia of the “boy in the basement” are rare. The only
one I can think of that actually takes the narrative a step further by basing the story
on these two gay men’s lives is [title of show].
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At its core [title of show] is a musical that chronicles its own existence by
telling the story of how writers Jeff Bowen and Hunter Bell came up with the idea of
the musical for a festival, and includes many stories that happened to the duo with
friends Heidi Blkenstaff and Susan Blackwell along the way. Against all odds, this
small show, recurring only four chairs and a key board, was able to not just run at
the New York Musical Theatre Festival, but also fulfill dreams of being on
Broadway. Even though its life was short lived, the musical did a wonderful job of
capturing a gay musical theatre fan’s excitement on the topic.
One of the more endearing aspects of the characters, and a running gag
throughout the show are the references to flopped Broadway musicals. Throughout
the show Jeff and Hunter take jabs at Brooklyn, Starlight Express, and even
Sondheim himself referencing Merrily We Roll Along. Referencing these musicals is
not meant to be malicious to the writers that came before them, but rather celebrate
what it takes to write an original musical and us these shows as inspiration. In
“Playbills and Monkeys”, Jeff, the show’s composer, is stuck in a moment of writers
block and is ordered by Heidi who acts as a “spirit guide or something” in this
number to “use those Playbills in front of you”. It is important to note that in this
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queer art of musical theatre, Jeff does not shy away from the possible failure but
embraces it.
In Judith Halberstam’s novel The Queer Art of Failure she chronicles the
history of failure and how it is inherent with queer studies. In an overly capitalistic
society failure is necessary for success and advancements to be made. When
speaking about the Great Depression she noted, “As for an artist such as Andy
Warhol, failure presents an opportunity rather than a dead end; in true camp
fashion, and the queer artist works with rather than against failure and inhabits the
darkness” (Halberstam 96). It is important that she included “camp” as a convention
of queerness, continuing on the theme of that which is queer is associated with dark
oddities. Even the musicals listed in “Playbills and Monkeys” aren’t the typical flops
you expect to hear, but rather more unusual estranged musicals like Carnival in
Flanders, Censored Scenes From King Kong, and the mother of camp flop musicals,
Carrie.
Despite the fact that Jeff and Hunter have boxes of playbills in front of them
that represent the challenge of opening an original musical on Broadway they
continue with what Jose Munoz described as “rejecting pragmatism”. Nothing about
opening a musical on Broadway is pragmatic, you a counting thousands of stranger
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deciding to see your show ever night, and lending themselves to be moved by it.
However as queer artists Jeff and Hunter don’t listen to reason as they “attempt to
stay above derivative tricks and critical undertones” (Bowen):
Queer studies offer us one method for imagining, not some fantasy of an
elsewhere, but existing alternatives to hegemonic systems. What Gramsci
terms “common sense” depends heavily on the production of norms, and so
the critique of dominant forms of common sense is also, in some sense, a
critique of norms. (Halberstam 89)
The Broadway musical can be broken down into some sort of system, if you have
certain types of songs with, X amount of producers, and big names above the title,
critics and everyone will probably like it. However [title if show] uses none of those
tricks, actually openly mocking them by having voice recordings of Broadway stars
rejecting the show, and rather than create a world where this musical is a normal
occurrence, they dream big in reality. Their goal isn’t to be the next blockbuster
musical; they’d rather be “nine people’s favorite thing than a hundred people’s ninth
favorite thing”.
There are two moments in the show where Jeff and Hunter express their
dreams as if they are still the little boy’s in the basement, “The Tony Award Song”
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and “Part of It All” which actually bleed into each other simultaneously. Though a
fleeting and comedic moment in the show, “The Tony Award Song” actually is
insightful to how most of the boys in the basement felt about musicals. “No one
better appreciated the secret, or more passionately bore its defining paradoxes,
than the kind of boy who descended into his parent’s basement to practice the
following occult ritual…no sooner had he done so than, though New York City was
nowhere near, the air filled the din if songs from the latest Broadway shows” (Miller
2). In this moment of the show the lights change, the cast freezes, and Hunter walks
down stage to dream about what would happen if his show won a Tony. And just as
the music crescendos, Jeff abruptly stops the song and almost making Hunter
embarrassed saying his “joke was too obvious” so it can’t be included in the show
(Bell). The two then enter a scene discussing the how much they wish success and
they will actually be ensconced in the Broadway community, “Part of It All”:
As if in playing Hello Dolly! he had been playing with an actual doll, it befell
every kid in the basement that he was changed into one of the Boys in The
Band (who indeed intimate their earlier incarnation when for a happy
moment they suspend their supposedly definitive sarcasm to indulge in
what, while no less effectively giving them away, far more truly sounds the
depths of their nature. (Miller 14)
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In this moment Jeff and Hunter aren’t exchanging witty banter, and for the only time
in the duos three duets, Jeff makes not attempt at correcting of editing Hunter,
rather they both escape in the idea of what it will be like to have a hit show on
Broadway. And almost as if it harkens upon its own creation there they are on
Broadway with a Tony nominated show and all the things they dream of. Also
another parallel to [title of show]’s unabashed queerness is that just like D.A. Miller’s
novel, [title of show] drops references to musicals left and right, not even
acknowledging most of them, further proving that musical theatre is simply in these
gay men’s DNA.
Even in the relationships on stage [title of show] works to not perpetuate any
type of heterosexual romance. Early on it is established that both Hunter and Jeff are
gay and Heidi and Susan are married. In fact there is not a single male/female duet
in the show, odd considering the show is made up of two males and two females,
there are however two female duets that have nothing to do with men or
relationships. And despite the fact that there are no romantic relationships in the
show, Hunter jokingly attempts to kiss Jeff, and Susan makes a similar pass at Heidi,
further perpetuating the queerness in this show.
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There are other musicals that explore the idea of gay men being enthralled
by musical theater, The Drowsy Chaperone is one of note, and while Man In Chair
probably represents most closeted gay men over 50, it is not Bob Martin’s story.
However the fact that [title of show] isn’t fiction and these are Jeff Bowen and Hunter
Foster’s legitimate feelings towards the subject makes the show that much more
truthful. In “A Way Back to Then”, and anthem for everyone in the show, Heidi
reflects on Heather Love’s notion of feeling backwards by trying to reclaim the
ecstasy she once found as a child when she performed in her present life. By using
their own stories, Jeff, Heidi, Susan, and Hunter trade a hetero-‐normative narrative
for new where they use musical theatre to embraces their queerness.
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Works Cited
Halberstam, Judith. "Judith Halberstam -‐ The Queer Art of Failure." Judith
Halberstam - The Queer Art of Failure. N.p., n.d. Web. 18 Dec. 2014.
Miller, D. A. Place for Us: Essay on the Broadway Musical. Cambridge, MA: Harvard
UP, 1998. Print.
Munoz, Jose E. "Cruising Utopia: The Then and There of Queer Futurity." Choice
Reviews Online 47.11 (2010): 47-‐6141. Web.
[title of Show]. By Jeff Bowen and Hunter Foster. New York City. 7 July 2008.
Performance.