Show: bare: a pop opera
Company: Refuge Theatre Project
Venue: Epworth United Methodist Church (5253 N Kenmore)
Die Roll: 4
I’ve seen almost every show that Refuge Theatre Project has done since its inception. I say that as a critic, not at a fan. That is, until this newest show, which has converted me toward being the latter. This is a relatively young group what produces theatre aimed at very young people and has historically done so with a glaring lack of experience or practiced skill. Yet, there has been a major change. This work, this effort, this piece of theatre is a solid one that elevates Refuge Theatre Project into the artistic neighborhood of other young and really good groups that are also making Edgewater their home. Bravo! They’ve come into their own, and now it is time for them to shine.
“bare: a pop opera” is just what it claims to be: operatic in structure, but featuring music best suited for the more nasal, throttled boy-band style of singing that permeates both current popular music and more modern Broadway pieces. It is more a musical without any talking than an opera, but that doesn’t mean that it lacks substance. It is actually chock full of thoughtful exploration of deep issues that confront the youth of today, and any of us who interact with those youths.
Billed as an exploration of “sexuality, sexual identity, and the role of the church” in their press materials, the show is all of those things. It also delves into issues of trust, communication, denial, parenting, leadership, drug use, popularity and ostracism. This is a meaty evening of theatre.
Director Matt Dominguez chose wisely when he opted to present this production within the walls of an actual church. With very little added effort, the setting is easily taken to be a private Catholic boarding school’s auditorium and dorms. And, it is a wonderful space for singing. The architecture allows for a wonderful mix of voices and instrumentation. Which brings me to one of the things that always pleases me about Refuge Theatre Project’s work. Their pit orchestra is always phenomenal. The company’s regular music director, Mike Evans, is clearly their ace in the hole.
To sum up the plot quickly, “bare: a pop opera” is about Jason (Chris Ratliff) a popular boy who all the girls adore, but who is actually in a relationship with his male roommate, Peter (Lewis Rawlinson). Peter is the primary driving force behind the story as he attempts to get Jason to be more public about their relationship. The boys both get cast in the school’s production of “Romeo and Juliet”: Jason as Romeo and Peter as Mercutio. Ivy (Molly Coleman), a young woman who wants to jump Jason’s bones gets cast as Juliet, and an awkward love triangle develops. Rather, a love trapezoid, for Matt (Ryan Armstrong) is not only the campus stick-in-the-mud, he’s also in love with Ivy. The kids are advised in their times of need by a Priest (Shaun Baer) and the director of the play, Sister Chantelle (Nikki Greenlee).
As the adults in this show, Baer and Greenlee, bring a sense of calm wisdom to the stage. Their gravitas provides an anchor to which the passions of the youths can be moored. Things take a turn for the dark side of life, after many small dark spots have already been revealed. Life is hard, especially for the young, passionate, and confused. The show drives relentlessly toward an inevitable and foreseeable end.
While this could easily be a piece in which the characters are paper-thin two-dimensional representations in order to make a point, instead they are well fleshed out and the actors/singers all do a nice job of embracing the many layers that they are given to work with. Most major characters have an aria/ballad which allows us to see inside their motivations. My one disappointment is that the Priest did not get a solo piece of his own. That one character’s inner story is neglected, and would likely inform much of the interaction he has with the others.
In the past, I have seen Refuge Theatre Project as a group that needed some time to mature into something better. They’ve always had enthusiasm and dedication to their product. I’d now have to say that they’ve made it through their artistic adolescence, and while they still produce shows about being young, they no longer seem hampered by their own early-career hurdles. This is a solid piece of work that will serve as a foundation for many great shows to come. I see it as their coming out party, in as many ways as you’d like to take that phrase.
TEN WORD SUMMARY: Coming of age pop opera marks young group’s own maturity.
DICE RATING: d12- “Heckuva Good Show”