Trial and Error

Gay Card

Logan recently graduated from his Florida high school and is about to begin college. He recently came out as gay and, because being gay in 2023 is considered “awesome,” Logan is certain that he’s on the brink of experiencing four mind-blowing years of popularity. However, the young man mistakenly believes that his sexuality defines his identity. He thinks that being gay is truly who he is. Logan also knows that college is the time for trial and error and he’s eager and ready to try a lot of things, maybe make a few mistakes but ultimately become awesome, trendy and well-liked by everyone. 

Melanie, Logan’s longtime best friend, is straight, supportive, mature and a math wizard. She’s also going to attend the same college so Logan’s arranged for them both to be living in the same dormitory, Diversity House. It’s in these special living quarters that students exploring different life styles can enjoy college life. The other primary dorm residents include Danielle, the RA of dormitory, who is a loud party girl up for any- and everything; Cory, a gay, garish and proudly out young man; July, a horny lesbian looking for hookups; Justin, a bisexual kid, but who leans toward straight romance; and Graham, while also gay, is much more reserved and thoughtful—definitely not the stereotypical flamboyant homosexual. 

Then there’s Logan, who’s acknowledged that he’s gay, but he’s still trying to figure out to which gay tribe he belongs. Throughout the musical, written by Jonathan Keebler (book & lyrics) and Ryan Korell (music), the geeky young college kid consults a sketchy blog on his cell phone called Gay Card. It’s a site designed to explain and advise its readers on “how-to-be-gay.” What Logan doesn’t realize is that this site is simply a whimsical social platform, actually written by his new college crush, Graham. Logan tries out the site’s many suggestions by exploring various venues of gay life. He awkwardly attempts to stand out as a dancing queen during his first visit to a gay club. Then Logan goes all out at the Pride celebration, even making out on a float with a porn star. He tries come off as a Twink, begins training as a gay athlete, works hard to to be a queer art snob and becomes overly promiscuous while on Spring Break. By the end of the play, Logan understands Graham’s advice to just be yourself, and the rest will fall into place.

First, this production is nothing if not energetic, effervescent and totally over-the-top. Artistic Director Jay Espano, along with musical director Robert Ollis, have kept the play running on all cylinders and at breakneck speed. When not rapidly changing into one of Shawn Quinlan’s many colorful and often titillating costumes, the ten-member cast is filling the stage with their wild antics and loud singing. Much of the story’s vocal advice comes from the personified Blog Trio: Adelina Marinello, Elijah Warfield and Michael Idalski. All the athletic, in-your-face dancing, comes courtesy of choreographer Britta Schlicht. You certainly won’t leave this production complaining that it’s in any way dull or lifeless.

And there lies the problem. Because the show features so few quiet, honest, introspective moments, this musical quickly evolves into a one-note, cartoon caricature of college life with a gay theme. The audience uses intermission to get a much-needed break and a breath of oxygen, just so they can keep pace with the performers in Act II. Except for a few of the actors, the musical feels like a mad, manic animated feature. The characters don’t behave like real people. They’re mostly over-caffeinated stereotypes lacking any real personality or honest emotions, needs or wants. 

The three exceptions include the wonderful actress and beautiful songstress Sophie Murk as Melanie, handsome and subtle Freddy Mauricio as Graham and multitalented, all American-looking boy Nathaniel Thomas as Justin. All three triple threats turn in fine, forthright performances and possess excellent singing voices. Their scenes are the best of the show. Kudos, especially, to Sophie for professionally dealing with a temperamental microphone on opening night, which led me to wonder the reason for amplification in such an intimate venue. The musical constantly burst with too much sound, both from the band and the singers.

But poor Ben Ballmer as Logan, around whom all the other characters and action revolves, plays his role as if he’s been injected with some kind of performance enhancing drug. Finally in Act II, the talented young actor has a few moments to settle down a bit. In these scenes Mr. Ballmer gets to be genuine and believable. Finally, the audience can catch a glimpse of the real Logan, truthfully portrayed by a promising young newcomer to Pride Arts. I wish there were more scenes like this, either in the script or in Mr. Espano’s direction. Toning Logan down would provide a welcome contrast to all the surrounding perpetual peppiness of this show, and it would serve to exemplify the theme of trial and error.

Recommended

Reviewed by Colin Douglas

Presented August 24-September 24 by PrideArts at the Pride Arts Center, 4139 N. Broadway, Chicago.

Tickets are available in person at the box office or by going to www.pridearts.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.