Southern Discomfort

Religion and Sexuality Clash in Southern Baptist Sissies

The saga of four choir members growing up in the “Buckle of the Bible Belt” and dealing with their sexuality forms the basis for Southern Baptist Sissies that is currently playing at the Audrey Herman Spotlighters Theatre.  This powerful play by Del Shores that premiered in Los Angeles in 2000 received the GLAAD Media Award for Outstanding LA Theater Production among other honors.

TJ (l.) played by Dennis Binseel rejects Mark (Michael MaKay)
Photo: Spotlighters Theatre/Chris Aldridge, CMAldridgePhotography 

By no means is Southern Baptist Sissies an uplifting work. It realistically depicts homophobia in the conservative religious community and the effect of religion’s rejection of homosexuality on young people. The messages are hammered home through frequent fiery monologues and exchanges between the characters that under the direction of Fuzz Roark, the production is hallmarked by extraordinary performances by the cast.

The four boys—Mark (played by Michael MacKay), TJ (Dennis Binseel), Andrew (Dan Romeo) and Benny (Tommy Malek)—offer intense individual revelations on each one’s coping with his sexuality in the Dallas Baptist Church.  ##

Narrated by the idealist Mark, the story jumps back and forth in time using his memory of events and his own attempts at trying to figure out why the Baptist Church preaches love and forgiveness but lambastes homosexuality.  He is enraged by this situation and frustrated even more over his childhood friend, TJ, with whom he had a sexual relationship as teenagers.   That led to Mark’s falling in love with him, but TJ, influenced by the Scriptures, denied his gayness and tried the straight path towards redemption.   He eventually enters into a relationship with a woman.  #hocoarts

On the extreme opposite end of the spectrum, Benny fully embraces being gay, at least on the surface, brushes off the Church’s teachings, and becomes a flamboyant drag queen.

In between is Andrew, who is conflicted by his sexual urges and the demands of his faith in the hope of finding acceptance by God.

The Dallas Baptist Church’s anti-gay teachings are brought home by the fire and brimstone preacher, Reily (John Sadowsky) who does not temper his anti-gay rhetoric even after a tragedy at the play’s end.

Melanie Eifert as Odette and Greg Grenier as Peanut
Photo: Spotlighters Theatre/Chris Aldridge, CMAldridgePhotograph
 

To provide comic relief, two barflies, an older gay man, Preston “Peanut” LeRoy (played deliciously by Greg Grenier), and a self-described alcoholic Odette (Melanie Eifert) engage each other at a piano bar at various intervals within the play.  They gossip about the other bar patrons, discuss their lives, make funny quips (Peanut: “I’m a social drinker.  You’re having a drink, social I”) and create a bond that is endearing.  Both actors are superb and convincing in their roles.

These segments in the play do not have a direct relationship to the core plot of Southern Baptist Sissies—that of the journey of the four boys—other than the fact that the characters are Baptists.  Yet, the comedic exchanges are a welcome respite from the intensity of the remainder of the play.

Another comic sequence is the exceptional drag performance by Benny’s “Iona Traylor.”  Singing live as opposed to the all-too-common lip synching device, Mr. Malek’s voice is spot-on and his well-delivered “bitchy” comments hit the mark.  

Though the play was written at the beginning of the millennium, Mr. Roark, updated it by invoking the names of several homophobic elected officials and presidential candidates into the dialogue—an amusing touch.

Other than these lighter moments plus brief stripping appearances by Mr. Binseel showcasing his well-toned physique, the play is serious with a poignant, thought-provoking theme.



From left: Michael MacKay, Dennis Binseel, Dan Romeo and Tommy Malek
Photo: Spotlighters Theatre/Chris Aldridge, CMAldridgePhotography 

The Peanut character, however, accurately portrays the plight of older gay men in bars back in 2000 and continuing today whereby they engage in gossipy banter, are often ignored and marginalized by younger gay men, and their loneliness could lead them to having to pay for sex.  Peanut’s advice to the younger Andrew, drawing on his experiences, provides one of the play’s sweetest moments.

This is a well-cast production with the all the actors performing very competently in their roles. Most notably, Michael MacKay, as Mark, the principal character, ably conveys the wide expanse of emotions required from this part.   Tommy Malek as Benny stands out as does John Sadowsky as the Preacher.  Dennis Binseel, already a Spotlighter’s veteran of six productions, brings much passion to his character for the tense scenes. Christina Holmes does a good job playing the boys' mothers.

Credit Accent and Dialect Coach Sherrionne Brown for helping the cast with their authentic deep Southern drawls, which are delivered consistently throughout.  Also, Al Ramer deserves a nod for his lighting design that creatively augments the scene changes.

And while this play is not a musical, there are frequent hymns sung by the four main characters whose voices blend beautifully in each number.  William Georg is excellent playing organ music in church scenes and piano music in the piano bar.

Southern Baptist Sissies is a serious play about serious issues despite the comedy in the mix.  It primarily sheds light on a subject that touches the lives of many gay people coming to grips with their sexuality while religious leaders and their followers disparage them whether they are in Dallas or anywhere else. 

Yes, there are times the dialogue gets a bit too overwrought and the play does not leave any of the characters truly happy.   However, the overarching message of the need to love one’s self no matter who you are is an important one.  

This well-directed, well-performed production at the Spotlighters should not be missed.

Running time: Two hours and 20 minutes with an intermission.

Advisory: The play contains profanity and sexual situations and is not recommended for children.

Southern Baptist Sissies plays through March 6 at the Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD 21202. Tickets may be purchased by calling the box office at 410-752-1225 or visiting here.

Bullying Not Peanuts at Spotlighters

If there is anything wrong with Burt V. Royal’s play, Dog Sees God: Confessions of a Teenage Blockhead currently playing at the Spotlighters Theatre, it is that not enough people will catch this important work.  An “unauthorized parody” of Charles Schultz’ Peanuts comic strip whereby the Peanuts characters have grown into adolescence, Dog Sees God, which earned a GLAAD media award for Best Off-Off-Broadway Play in 1984, takes on serious issues that adolescents continue to grapple with today.  Mr. Royal’s characters’ names are different from the Peanuts crowd because of intellectual property rights.

From left: Reed DeLisle as Beethoven, Sean Dynan as CB, and Dennis Binseel as Matt

Photo: Chris Aldridge

#hocoarts

The play poignantly focuses on teen bullying, but suicide, alcohol and drug abuse, eating disorders, and sexual identity among others also factor in.  With these many issues to contend with in a one-act play lasting just over an hour and a half, time could not be spent on all to delve deeply enough to do them justice.  Nonetheless, they are touched on to some extent, and bullying and suicide emerge as the central topics.

Under Director Fuzz Roark, the talented cast of young actors brings Mr. Royal’s work to life with intensity, power and energy.  The play is constructed with over 20 scenes that are well-staged and well-paced.  The cast implements smooth transitions with the use of Al Ramer’s effective lighting design, and background music is piped in during these moments.  Many of these scenes are highly dramatic and pivotal to the plot; they are executed well.

The actors make effective use of the square stage in the center of the in-the-round theater using moveable benches and tables as props in Alan Zemia’s simple but functional set.  In addition, a piano, which plays a significant part in the play’s drama, sits in the corner along the runway.

Sean Dynan, as the principal character CB (Charlie Brown), turns in a splendid acting performance.  Handsome but conveying uncertain teenage-awkwardness at the same time, he moves about the stage with the weight of the world seemingly on his shoulders.  CB’s dog had died, and CB was looking to find out if there was an afterlife.  His friends consist of a pothead (Van, played by Adam Michael Abruzzo); two boozers who think they are the cool kids (Marcy and Tricia played convincingly by April Airriona Jones and Melanie Glickman, respectively); a sex-obsessed homophobe Matt (Dennis Binseel); and  CB’s sister who has varying philosophies on life (forcefully acted by Parker Bailey Steven), provide no good answers. 

a must-see thought-provoking and entertaining event

CB had at one time physically hurt Beethoven, the school’s outcast because he is gay, and during his attempt at reconciliation kisses him, then falls for him.  Beethoven (Schroeder in Peanuts) incurs the hateful wrath of Matt whose homophobia is so extreme that it ultimately and predictably raises questions as to why. 

 

Beethoven is played touchingly by Reed DeLisle.  He finds solace from the bullying and harassment by playing classical music on the piano.  His cowering movements around the stage and his restrained dialogue are a function of his constant fear and anger.  Mr. DeLisle delivers a moving performance in this role.

Hunky Dennis Binseel as Matt (Pig-Pen in Peanuts) is the play’s main antagonist.  His persona is similar to a ball of rubber bands tightly wound up whereby the slightest provocation sets him off.  Matt is menacing (and violent).  Mr. Binseel carries this off superbly with powerful intensity. 

Rounding out the cast is Autumn Rocha, Van’s sister, who is institutionalized for setting a red-haired girl’s hair on fire.  The scene between her and CB is outstanding.

The remainder of plot will not be divulged because the highly dramatic ending but is climaxed by an emotional letter to CB from a pen-pal.

 

To his credit, Fuzz Roark, as the Spotlighters Theatre’s Executive Director, added an insert to the program containing important information concerning bullying and suicide that had been furnished by PFLAG-Carroll County and The Trevor Project.  These pages include the warning signs that people should notice, actions that can be taken, statistics, hotline numbers and other useful information.  In addition, the lobby of the theatre displays a range of brochures covering the issues that surfaced in the play. 

Also, the brief after-play discussion by cast members with the audience caps off the experience very fittingly.  Following the performance for this review, Melanie Glickman ably led the discussion.

 

Dog Sees God is mostly a serious play with a few chuckles sprinkled about.  Mr. Royal’s script captures teenage angst and the serious problems that adolescents face at school each day.  It scrupulously informs the audience as to the consequences of bad decisions or the lack of guidance from others. 

Those critical issues covered by the play are reasons enough to attend.  However, it is a well-directed and well-staged work that is performed by a talented cast and makes it a must-see thought-provoking and entertaining event.    
 

Running time: Approximately one hour and 40 minutes with no intermission

Advisory: The play contains profanity and sexual situations and is not suitable for children under 13.

Dog Sees God runs through June 28 at the Spotlighters Theatre, 817 St. Paul St., Baltimore, MD 21202.  Tickets may be purchased by calling the box office at 410-752-1225 or visiting online.

Spotlighters Brings 'Fiddler' to Life

Ken Stanek Photography

Tevye, the central character in Fiddler on the Roof, must pull a milk cart by himself because his horse is lame.  In doing so, he slowly, pedantically drags it through Anatevka, a small village in Czarist Russia in 1905.  This struggle, this effort becomes a metaphor for Tevye, who seems to have the world’s weight on his shoulders, and in his world, he does.

At the brink of poverty, Tevye, a religious Jew who frequently refers to the “Good Book” and believes that God, for some reason, tries to give him a hard time.  He battles to feed, clothe and house his wife and five daughters.   His three oldest girls eschew deeply ingrained Jewish traditions to which he so desperately tries to cling.  

Instead, they prefer to pursue lives of their own fueled by changing social mores.  He must also match wits with his sharp-tongued wife of 25 years Golde.    And on top of that, Tevye and his family as well as the other Jews in Anatevka face constant anti-Semitism and intimidation from Russia’s Czar.

For full review, visit MD Theatre Guide.