Cry About It

Never Better

There are topics that were once considered taboo or simply inappropriate for the stage. But times have definitely changed. Subjects that might have shocked early 20th century audiences have become almost commonplace today. Seeing people being baked into pies, humorous Nazis in over-the-top production numbers, singing and dancing pussycats competing for an afterlife and young Mormons preaching Joseph Smith’s religion to Africans are examples of how musicals have come a long way. 21st century musicals are a far cry from shows about turning a Cockney flower girl into a princess, farmers challenging the cowhands in song and dance or teaching the Siamese King’s children. 

Preston Max Allen (composer/playwright of the brilliant CARRIE 2: THE RAGE, presented by Underscore) is a talented and up-and-coming young playwright/composer, who’s written another new musical entitled NEVER BETTER. His show fearlessly addresses topics that may make some audience members a little uncomfortable. He tells the story of a young college coed named Davy whose life goes from bad to worse. Her beloved mother recently passed away from breast cancer, her father has married her mom’s best friend and, for a few days now, Davy has been feeling sick. She could simply “Cry About It,” as she sings, but instead the young woman chooses to ignore it. Bruises are mysteriously appearing all over her body, her nose is bleeding a lot, she’s always tired and she’s become lethargic about everything, including attending her animation classes or cleaning up her messy room.

Eventually her boyfriend Carter (a very fine Shawn Smith) and her devoted friend and roommate April (the terrific Melody Murray) finally persuade Davy to go see a doctor. There she’s offered some medical advice that seems ominous. Aynsley, Davy’s empathetic nurse practitioner, tries not to frighten her patient but recommends that she schedule a couple more blood tests. Aynsley explains that the additional examinations will help doctors rule out any serious ailments. She tells Davy not to worry. But after the trauma of losing her mother to cancer, Davy is apprehensive. So, she’s decided not to hear what may be a dismal diagnosis and just quietly deal with it. In her lethargy, Davy sees no hope for this world anyway. She thinks that no one would even miss her if she died, and thus quietly dying would be for the best.

April spends her all her free time as an online influencer. There, she offers advice and fashion tips to her many internet followers. But between helping others, attending class and mothering Davy, April is in need of some assistance of her own. Years ago April was sexually assaulted. Through a proper courtroom trial the criminal was charged, convicted and imprisoned. But now he’s being released early on good behavior and April’s scared. The nightmare is returning again, partly because April’s been receiving dreadful online death threats. And, like Davy, she doesn’t think that anyone cares what’s happening to her.

Aynsley, Davy’s empathetic nurse practitioner, has concerns of her own. Three years ago, just after meeting the man of her dreams, he tragically became ill and died. Working in the medical profession, Aynsley meets and interacts with dozens of patients everyday. But when she begins treating Davy at the hospital, the young woman sees something in her that touches her heart. The nurse hasn’t felt this way about anyone since her own tragedy. Aynsley becomes obsessed with helping Davy deal with her illness and seek more treatment, hopefully, to escape a possibly fatal disease.

Preston Max Allen’s two-act musical will touch a lot of audience members in a special way. These days, most theatergoers will know someone who has experienced a serious, life-threatening illness. In fact, the husband of the young woman, with whom I shared my table opening night, is currently undergoing treatment for cancer. She sobbed throughout this play. My friend who often accompanies me to most productions has been treated for a the disease, as well. This play touched hit a nerve with him too. Fortunately, he’s managed to beat it, for which we’re all so thankful. But just as a warning to theatergoers, if you anticipate that any of these sensitive subjects will cause you discomfort, perhaps this isn’t the right show for you.

But for those who choose to see the premiere of this new musical, something that Theo Ubique has been presenting for years, you’ll discover a beautiful and poignant original play. Allen’s music is especially strong and hard to forget. And thanks to both Playwright Allen, Landree Fleming’s sensitive Direction and a truly talented cast, the story is unfolds with dignity, sensitivity and love.

Making her Theo Ubique debut, lovely Emma Samuelson gives a brilliantly understated performance as Davy. The inclination of a less-talented actress would be to overplay the pathos of this character. But Ms. Fleming has obviously worked hard to guide Emma in finding the reality of her character. She’s directed the actress to fully inhabit the college coed and live within Davy’s true world. The result is that Ms. Samuelson doesn’t simply “play” the character and pretend to experience her pain and hopelessness; she totally dwells within Davy’s entire milieu. Emma Samuelson, who’s onstage practically the entire show, is incredible. She shares Davy’s feelings in songs like “Cry About It,” “Rockstar,” “Fall Away” and the heartbreaking, “Stay.” 

The same is true for the charismatic Melody Murray, as April. For the better part of the story, Ms. Murray energetically flits about the stage, thinking only about her online audience. Eventually, however, she comes to realize that her close friend Davy is suffering from something far more serious than she’s been letting on. And then, as we venture into Act II, we learn April’s shattering backstory that’s been haunting her day and night. She sings her heart out in the number, “Try.”

But for me, the most moving performance in this production comes from Theo Ubique favorite, Liz Bollar. As Aynsley, Ms. Bollar portrays with honesty the most compassionate and understanding caregiver one could ever have the good fortune to meet. The fact that she humorously calls herself Davy’s “stalker” tells you a lot about Aynsley’s devotion to her patient. Theatergoers will love her for caring so much about Davy, but then we hear Aynsley’s own story in her tear-jerking, soulfully sung ballad entitled “Valentine.” Ms. Bollar, who wowed audiences in Theo Ubique’s ASSASSINS and THREEPENNY OPERA, once again impresses with this supporting performance.

The production is beautifully Directed Musically by Ellie Kahn, who also conducts the onstage combo. In addition, Ms. Kahn plays the piano, sings and also portrays Davy’s Mom. The multitalented ensemble includes guitarist Jess Alexander, who also portrays Dad; cellist Ismael Garcia and bass player Travis Shanahan, both of whom also harmonize with the cast and play supporting minor roles; T.J. Anderson also on piano and Maddi Vogel on drums. The venue even has a new audience configuration for this production because, one suspects, of Eleanor Kahn’s unique Scenic Design. Her clever, clear plexiglass panels create see-through walls, with white line drawings painted on them, as a reference to Davy’s artistic talent.

Preston Max Allen’s new musical is a powerful piece that doesn’t shy away from real life, and some theatergoers may even “Cry About It.” It deals with dark subjects such as terminal illness, sexual violence and suicidal tendencies, which may make some theatergoers uncomfortable. But these topics aren’t sensationalized in this musical. They’re faced head-on. They’re real and, like it or not, are a part of our lives today. Featuring an excellent musical score and strong characters, Landree Fleming’s delicate and emotionally charged production is guaranteed to leave audiences incredibly moved.   

Highly Recommended

Reviewed by Colin Douglas

Presented September 7-October 13 by Theo Ubique Cabaret Theatre, 721 Howard Street, Evanston, IL.

Tickets are available in person at the box office, by calling 800-595-4849 or by going to www.Theo-u.com.

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