It’s a mad, mad, mad, mad musical, The Big Gay Jamboree, and it’s certainly not a show for everybody, but this screwy new tuner sure had ’em screaming in the aisles downtown at the Orpheum Theatre, where the show premiered on Sunday.
Let’s recall Schmigadoon, the not so long ago Apple TV+ series about a modern-day couple lost amid a Golden Age Broadway musical, and its next season follow-up, Schmicago. The schmi-shorthand on The Big Gay Jamboree: A modern-day woman wakes up trapped inside a 1945 musical comedy being performed at that very moment at the Orpheum.
Bleary, bewildered, 30s-something Stacey – hungover and looking like hell in last night’s bad cocktail frock – finds herself inexplicably launched into a breakneck, intricately choreographed opening number led by a quartet of singing strangers claiming to be Stacey’s sisters. Soon Stacey learns it’s her wedding day. By now a chorus of Idaho villagers are hooting and hollering their happiness over Stacey’s nuptials even as she desperately attempts to flee the theater – but somehow cannot escape the show’s candy-colored clutches.
Stop the presses. Before further detailing The Big Gay Jamboree, let’s note that Marla Mindelle, the writer-performer responsible for devising Titanique – soon to hit its third Off Broadway year – is credited as co-author of this wacky new show’s book (with Jonathan Parks-Ramage) as well as for co-writing its music and lyrics (with Philip Drennen). Oh, and Mindelle also stars as Stacey, and she’s terrific.
The first among the story’s several flash-forwards to the present reveals Stacey as a failed musical theater performer (“Ever since I played Evita in kindergarten …”) who is not so happily engaged to Keith, a sniggering tech bro millionaire played to smarmy perfection by Alex Moffat of Saturday Night Live fame. Then The Big Gay Jamboree – for that’s the title of this show-within-the-show from some 80 years ago when “gay” simply meant happy (to most people) – takes over again as Stacey struggles to find her way back to 2024.
Along her journey, Stacey helps other refugees: Clarence, a Black man weary of being a secondary figure permitted to sing only gospel due to the racist tropes of vintage musicals, is affably depicted by Paris Nix with a fabulous voice showcased in a rousing parody – “Gospel song, a chance for the white folks to sing along” – that features a hallelujah chorus. Flora, a slut-shamed sweetie hoping for respect as a sex worker of the future, gets Marilyn Monroe intonations and a bear-trap smile from Natalie Walker, wiggling through a naughty number where her back-up boys lose their pants. Bert, painted as a monster by 1945 society, revels in sexy possibilities as an urban gay man circa 2024. Personably rendered by Constantine Rousouli (another Titanique maker), Bert leads an audience sing-a-long through “The Gay B C’s” of essential words such as shade, yas and prep.
Of course Judy Garland is mentioned during these proceedings and so are name checks of Harry Styles, Beyoncé, Andy Cohen, and other pop culture worthies. Jennifer Lopez proves such an inspirational icon that she rates “The Back-Up Plan,” a wildly worshipful anthem performed by the entire company. Meanwhile Les Misérables, Rent and A Chorus Line are among classics kidded in song, dance and scenography. Not at all an event suitable for the kiddies, the musical at times can be cheerfully vulgar in its broadly comical book and lyrics. The music, scarcely for the ages but agreeable for now, is bright and upbeat and propels the action.
Inventively directed and choreographed by Connor Gallagher, the show benefits considerably from sharp performances and fine production values. Lit in rainbow shades by Brian Tovar, some adorable animated projections by Aaron Rhyne and a turntable are employed by the dots design collective for the cute, fluent scenery. Crisply costumed by Sarah Cubbage, a confident 10-member ensemble of quick-changing performers capably support the excellent featured players.
Crafting a demanding star role for herself, Mindelle hilariously registers Stacey’s shock at waking up amid an unknown musical comedy and then easily animates the lady’s many swings in mood with vibrant vocals and a red-heady spiritedness that makes her the glowing center of all this funny business. A nonstop cartoon of sexual and social satire, showbiz parodies and wayward silliness, The Big Gay Jamboree swiftly rolls along without an intermission for 100 minutes and had it lasted 102 minutes, the entire giddy thing likely would seem far too long.
The Big Gay Jamboree opened October 6, 2024, at the Orpheum Theatre. Tickets and information: biggayjamboreethemusical.com
