It has become a delightful, annual tradition for Reverend to spend a weekend in New York City with local friends before Christmas. The Big Apple is transformed each year into an extravagantly (sometimes excessively) decorated tribute to the multiple holidays celebrated by its various communities, including the LGBTQ community. I even helped a drag Mrs. Claus (aka Jacklynn Hyde) cross the street prior to her Bingo appearance at Dickens, a fabulous gay bar/restaurant in Hell's Kitchen. Hopefully, that will secure Reverend a few extra points with the "Big Gay," aka God.
While I can't say our December 13th-15th weekend in NYC was a Christmas-centric time, it was truly magical. One of my friends and I did kick things off in a religious vein with a performance of Handel's Messiah at Lincoln Center. Presented by the New York Philharmonic, the Musica Sacra chorale and several talented soloists, it was Reverend's first time seeing/hearing Messiah all the way through. Although my more knowledgeable companion thought the overall tempo too fast, I found it altogether lovely and faith-affirming.
We went from the sacred/sublime to the lovably ridiculous at The Big Gay Jamboree! This showcase for the hilarious writer-actress Marla Mindelle, who previously co-created and starred in off-Broadway's fantastic, long-running spoof Titanique, did not disappoint. Sadly, though, Reverend didn't learn until the next day that it was the production's closing weekend! The recent announcement that Titanique has expanded internationally provides some consolation.
The Big Gay Jamboree serves as Mindelle's LGBTQ-aware tribute to Broadway shows both classic and more recent. It features musical and/or visual callbacks to Oklahoma!, The Sound of Music, Wicked, Hairspray, A Chorus Line, The Music Man and Dreamgirls, among others. While performed in the East Village's small-scale Orpheum Theatre (home to the original Little Shop of Horrors and Stomp, among others), Mindelle's labor of love boasted director-choreographer Connor Gallagher (Beetlejuice: The Musical) and Hollywood-based production companies Luckychap, Indian Paintbrush and Annapurna. Subsequently, its scenic design, costumes, lighting and supporting cast were noticeably more advanced/underwritten than most off-Broadway ventures. In fact, The Big Gay Jamboree was initially developed as a movie star vehicle for Margot Robbie before she moved on to Barbie and other projects. God willing, the movie will yet happen.
Mindelle headlined the closed-too-soon stage rendition as Stacey, a vacuous party girl who drinks too much at a gay bar one night and wakes up engaged to be married in a Broadway musical circa 1945. While she has to follow the social conventions of the time, Stacey gradually enlightens her fellow characters to such modern-day advances as racial equality, BDSM, and LGBTQ rights as she searches for a way back to the "real" world.
It is rude and crude in spots but also smart and timely; AI ends up playing a significant part in the proceedings. Also playing a part in the NYC proceedings were former Saturday Night Live cast member Alex Moffat and Mindelle's Titanique co-creator, Constantine Rousouli. Rousouli's well-developed, lovingly-exposed thighs alone were worth the price of admission.
Whether as a movie, a Broadway transfer or local theater productions, I hope The Big Gay Jamboree will yet have a long and fruitful (no pun intended) life.
Nothing says "Merry Christmas" quite like a new Broadway musical about survivors of a 19th-century shipwreck who resort to cannibalism to survive, but such is the plot of Swept Away. It is now playing at the Longacre Theater, although a premature closing of December 29th has been announced. (The show just officially opened on November 19th.) Actually, a closing date of December 8th was first announced but a subsequent surge in holiday ticket sales resulted in a postponement. Such is the fate nowadays of too many shows not based on a previously existing property like a movie, book or TV show. Lempicka, Swept Away's sensational predecessor at the Longacre, is another sad case in point.
Though termed a "jukebox musical" since most of the show's songs by the Avett Brothers were previously existing, Swept Away features an original book by Tony winner and Oscar nominee John Logan. The all-male cast led by Broadway veterans John Gallagher, Jr. and Stark Sands is terrific but the standout element is the show's scenic design by Rachel Hauck. This includes the ship's spectacular on-stage sinking and a rolling, rotating lifeboat.
I found elements of both Logan's book and Michael Mayer's direction heavy-handed. More subtle handling of such themes as brotherly tension, religion, forgiving oneself, and the aforementioned cannibalism. A lighter approach also might have helped the show survive longer on Broadway, although the audience I was part of seemed to love it as is. If nothing else, it's worth catching Swept Away before it closes for that astonishing shipwreck.
The best, most lovable show I attended during our weekend of pre-Christmas revels was Maybe Happy Ending, now playing at the Belasco Theatre. This represented one of those happy, near-religious experiences where I went in knowing next to nothing about it and came out a raving believer.
This original musical, imported from South Korea but easily accessible to American theatregoers, is set in the near-future and centers on the growing, seemingly impossible love between two AI "helper bots." Oliver (played by the always watchable, Emmy-winning singer/actor Darren Criss) and Claire (Helen J. Shen, making her welcome Broadway debut) are neighbors in a helper bot retirement community, although Oliver is not aware that he has been retired. He devotedly pines for the return of his owner, James, so he can once again serve him. Claire decides to help Oliver find James, even as her battery is dying and she requires more frequent charging breaks.
Even if the plot becomes predictable at times, there are so many unique elements to this story and production that keep it engaging. Michael Arden's direction is masterful and Maybe Happy Ending also boasts amazing scenic design, this time by Dane Laffrey. Indeed, one moment in the show (no spoilers) is the most exquisitely beautiful moment — both musically and visually — I have ever seen on any stage anywhere.
Criss gives an excellent, physically precise yet emotionally moving performance as Oliver. Shen matches him emotionally if not physically, although as a later model of helper bot Claire is more advanced and less robot-like. Happily, Maybe Happy Ending seems to be finding an audience so I hope it will enjoy a longer run than the preceding productions reviewed here. It was a wonderful way to end our NYC holiday adventure.
Reverend wishes you and yours happy holidays, merry Christmas, and a blessed 2025!
Reverend's Ratings:
The Big Gay Jamboree: B+
Swept Away: B
Maybe Happy Ending: A-
Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.
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