In Three Off Broadway Shows, They're Coming Out and Out and Out
Douglas Lyons and Ethan D. Pakchar's 'Beau the Musical' follows many of the conventional signposts of the 'growing up different' genre. As a 27-year-old, Ace (Matt Rodin) revisits his middle and then high school years, when he navigated an affair with his bully, Ferris (Cory Jeacoma); figured out how to better understand his mother, Raven (Amelia Cormack); and reconnected with a once-estranged grandfather, Beau (Chris Blisset), who had secrets of his own.
Josh Rhodes's production for Out of the Box Theatrics, through July 27 at Theater 154 in Manhattan, goes how you'd expect a story involving same-sex attraction in Tennessee to go: clandestine trysts, self-loathing, violent encounters, art (in this case music) as an outlet and escape. This is well-trod terrain, but Lyons has a flair for recycling tropes, as he did in his popular comedy 'Chicken and Biscuits.' And Rodin, who played a gay teacher in the musical 'All the World's a Stage' this spring, gives a warm portrayal of someone trying to find his place through music-making.
The bulk of 'Beau the Musical' takes place over the late 1990s and early 2000s, while Rob Madge's autobiographical 'My Son's a Queer (but What Can You Do?)' largely looks back at events from the 2000s and 2010s, when Madge, who identifies as nonbinary, was growing up. The shows' time frames overlap somewhat, but the experiences they depict are starkly different.
A British production that had a five-performance run at New York City Center in June, 'My Son's a Queer' is a portrait of a child who was unconditionally loved and accepted, even when bossing their father around in a D.I.Y. Disney tribute — which we see because the Madges were fond of making home videos. Everybody in the family supported young Rob's artistic-ness, both literal and euphemistic: Granny Grimble made them a Maleficent costume, and when problems erupted at school ('not the best of times,' the adult Rob says in a rare display of understatement), their mother took a job as a 'lunch lady' to keep watch.
Madge revisits those years with unflagging, if solipsistic, brightness — the young Rob often asks their parents, 'Are you filming?' and a robust ego seems to have been a constant. The downside is that the City Center performance I saw did not always bear out Madge's confidence in their talent, with performances of original songs (written with Pippa Cleary) that rarely rose above adequate.
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