In the worst gay-theatre year within memory, the West Coast premiere of this classy 2000 Off-Broadway revue seems like a life raft amid a sea polluted with theatrical flotsam. Expect lines around the block. What this charming vehicle about gay male culture lacks in startling new insights, it makes up for with its sweet spirit and lack of pretension. It's a breezy 80 minutes of funny and poignant vignettes depicting the gay male's ongoing quest for human connection and acceptance. Director Steven Benson and musical director/pianist Michael Pollock make the most of Alfredo Alvarez's enjoyable music and Jeff Dobbins' clever book and lyrics (with additional material by Chad Miller and Ryan Perry).
The stamp of astute veteran producer Leigh McLeod Fortier is all over this show, from tasteful production values to sterling cast. Using the yardstick of 1998's enduring Naked Boys Singing to measure shows in this genre, this piece stands up to that test. In its wistful moments, the work could also be favorably compared to the Celebration Theatre's sophisticated 1999 gay interpretation of Sondheim's Marry Me a Little.
The talented five-member ensemble of actor/singers energizes the diverse sketches, monologues, and songs that make up this loosely structured piece. Parnell Damone serves as an emcee of sorts, decked out as a campy flight attendant. This brief linking device seems superfluous, but the appealing Damone wins us over. He has additional moments in which to shine, most notably with the superb Michael Paternostro in "The Seven-Week Itch," an incisive ditty about the ennui that sets in when the honeymoon heads south after a mere seven weeks. In another sardonic segment that segues to sweet, a couple in the midst of a one-night stand are at odds—one man (golden-voiced Gabriel McPherson) dreams of a lasting connection, while his trick (the delightful Tod Macofsky) merely wants Mr. Right Now. The finest bit for the hilarious Omar D. Brancato is an idyllic wedding ceremony to the tune of the ceremonial march from The Sound of Music with a choice surprise ending.
Though the emphasis is on fun, such as the uplifting refrain "Gay Today," some songs have a somber message beneath the wry lyrics, most notably the group number "Searchin' for a Euphemism," about the soul-crunching plight of hiding one's identity. AIDS of course briefly enters the picture, as do such issues as gay bashing, gay political history, and cruising in cyberspace and various West Hollywood hot spots. (One presumes the WeHo number was modified from the New York show.)
The production design is simple but stylish. Bryan Coffee's basic unit set of onstage piano and platforms is enhanced by Plume Buigues' gorgeous lighting effects. Doug Spesert's costumes are chic, and Ron Wyland adds ambient sound effects. Those who set their expectations for first-class cabaret, rather than an epiphany, will find much to enjoy in this utterly beguiling confection.
"Bed, Boys, and Beyond," presented by Leigh McLeod Fortier at the Hudson Avenue Theatre, 6537 Santa Monica Blvd., Hollywood. Thurs.-Fri. 8 p.m. Aug. 2-Sept. 7. $20. (323) 930-9304.