Family Fugue

Out Here

Self actualization. Being yourself. Becoming comfortable in your own skin. These are different ways of labeling the same act. Recognizing who you are and acknowledging this understanding of yourself and the world around you is usually just the beginning. It’s an act of freedom, of breaking down artificial barriers and starting over again with honesty and pride. This is part of the premise of OUT HERE, a new musical that was developed in a partnership between the University of Chicago and the Arts Lab at the Neubauer Collegium for Culture and Society. This new work is, as the song goes, also a “Family Fugue.”

The resulting show features a book and lyrics by Leslie Buxbaum and music and lyrics created by Erin McKeown. Directed by Chay Yew, the premiere of this 90-minute one-act production begins with the leading character singing about being “In the Closet.” Dawn, who for a time was involved with another gay woman named Robin, has been in a straight relationship for years, married to a man named Brian for almost two decades. During the couple’s time together, they have welcomed and raised Cleo, their smart, 16-year-old daughter. They project the appearance of being the typical, average American family.

 As the story unfolds, young Cleo suddenly notices that the fourth wall has disappeared and there’s a lot of people sitting out front, all watching the family. She also realizes that there’s a band playing upstairs in the attic, so singing their thoughts and feelings suddenly becomes their new normal for communicating. Brian even hauls out a long-forgotten guitar so he can accompany himself on songs like “Too Soon.” After Dawn gives the audience a quick background of the family and a tour of the house, she makes a very big, life-changing decision (although it truly hasn’t been thought through very well). Dawn sends Cleo to her room. Then she sits down with Brian to break the news that, after much thought, Dawn’s decided that the time has come for them to divorce.

There are more than two dozen songs in this show, most of which are more like conversations or inner monologues set to music. Titles include “Tinder & Spark,” “This Might Not Work,” “Return to the Closet” and “With You.” Dawn and Brian feel that they need a neutral party to help them come to terms with the breakup. So, stepping out of the upstairs band comes Martin, the Mediator. Brian feels a bit lost, both at the collapse of his marriage and with his sudden, new freedom to date other women. Suddenly he spots Gina, a lovely young woman sitting in the audience, and decides to ask her out. Then Dawn notices that her ex-girlfriend, Robin, is sitting in the front row of the audience. She decides to bring Robin up onstage and try and pick up where the lesbian couple left off. We also meet Jeff, whom we learn is Robin’s adult child. Cleo comes to terms with her mom and dad divorcing and so she grabs a mic and delivers her own solo song, “Picture Perfect.”

OUT HERE isn’t your typical musical. The label just doesn’t fit. Unlike most musicals, this show gives the impression that, as the scanty story unfolds, all the songs are being composed and the events are happening on the spot. That’s a clever and interesting way to tell a story, but there’s nary a tune nor a lyric that theatergoers will take away with them when they leave the theatre. The very likable characters and the messages they deliver are what’s important in this show. In all honesty, OUT HERE sometimes feels more like a work in progress than a finished piece of theatre. 

The cast, however, is excellent, which makes the production especially captivating. Seldom leaving the stage, talented Becca Ayers (1776, the Broadway revival cast, featuring all trans, non-binary and female performers) is very good as Dawn. They portray a once-confused, often vulnerable, yet incredibly brave middle-age woman on the brink of change and something new. Dawn has finally made the difficult decision to discard a life that has felt false for so long and return to the much more honest, gay lifestyle that was always part of her. In reuniting with Robin, her former lover, a fragmented Becca becomes a whole person again. Multi-gifted Chicago superstar, Bethany Thomas (PORGY AND BESS, the Court; A CHRISTMAS CAROL, the Goodman; NATASHA, PIERRE & THE GREAT COMET OF 1812, Writers) gives another strong performance as Robin, both musically and dramatically. And Z Mowry, making their Court debut, is also excellent as Jeff.

Cliff Chamberlain also makes his Court Theatre debut. In the role of Brian, Mr. Chamberlain plays an honest, realistic, easygoing dad and husband who will be a familiar entity to the audience. Cliff has been seen at Steppenwolf in FOOL FOR LOVE and YOU WILL GET SICK, among many of their other productions. He’s also appeared in THE SEAGULL at the Goodman and in THE MINUTES, both at Steppenwolf and on Broadway. One of the best performances in this play, however, comes from Ellie Duffey, in the role of teenage Cleo. She is so delightful, exudes so much charisma and is such an honest, lovable personality that everything her character says and does hits home. Ms. Duffey was seen at the Court in the recent world premiere of BERLIN, and also appeared in Chicago Children’s Theatre’s production of FREDERICK. 

Another great performance in this production comes from Amanda Pulcini, as Gina. She portrays a surprised character, singled out in the audience. Gina’s so sweet and honestly baffled, while honored to be chosen out of everyone in the audience, to be part of the cast. The improvisational quality to Ms. Pulcini’s performance is, for me, the highlight of this musical. And Chicago’s favorite comic actor, Alex Goodrich, is naturally goofy and honestly funny as Martin, the mediator. He returns to the Court stage after many appearances, including THE MOUSETRAP. He’s been seen on stages all over Chicago, and may be remembered for shows like HELLO DOLLY, at the Marriott, THE AUDIENCE, at Drury Lane, and THE IMPORTANCE OF BEING EARNEST, at Writers.

Chay Yew’s interesting production of OUT HERE is definitely entertaining, but might be deceptively labeled as a musical. The piece is meant to feel improvisational, but it feels more like a work that’s still in progress. The show features seven talented actors portraying characters who are equally likable and fascinating. The powerful story they tell is about a family in flux. It’s about being who you are and an individual’s brave decision to be her honest and true self. As Dawn reenters the life she was meant to live, reuniting with her true love, Robin, and reluctantly leaving her husband, Brian, and daughter, Cleo, everyone understands they will all need to readjust their lives. All the characters has to reexamine their idea of what is now “normal” for them, as they move on through this family fugue.          

Recommended

Reviewed by Colin Douglas

Presented April 10-May 10 by the Court Theatre, 5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.