“Hey, Whitby Courthouse Theatre. You’ve a jim dandy summer show going on.”

[title of show], a unique identification label, was selected as a production by the Musical Theatre Festival and premiered there in September 2004 in New York City. In 2006, it ran off-Broadway at the Vineyard Theatre and finally made it to Broadway in 2008 for 102 regular performances.

The story is a one-act musical written by two ordinary guys, Jeff Bowen and Hunter Bell, who want something more from their artistic lives. The musical centres on two guys named Jeff and Hunter who are writing a musical called [title of show]. Rather than getting bogged down by a title at this early stage of composition, [title of show] indicates the writers and composers will return to it later.

Throughout the musical, the characters of Jeff and Hunter (originally played by Bowen and Bell) acknowledge they are appearing in the finished show that they have not yet written. Along with two actress friends, Heidi and Susan, [title of show] follows the struggles and triumphs of these two ordinary guys as they do their best within three weeks to bring the show first to the Musical Theatre Festival with the ultimate goal of transferring it to Broadway.

In this opening night Whitby Courthouse Theatre summer production, Barrett G. Moore (who also appears as Jeff) directs with a creative purpose and good vision. The production also features Benjamin Conroy as Hunter, Nicole Strawbridge as Heidi, and Carly Richard as Susan. The pianist Larry (played by Colin Frotten) is situated upstage behind the keyboard and says very little during the show. He becomes that keen observer, an unseen friend we all need when life can sometimes be challenging.

What’s unique about Frotten? He brings his adorable dog to the stage and keeps him company while the show’s going on. The dog even takes a curtain call bow. (Sam Moffatt will play the keyboard at the August 16 performance.)

Moore has been kept rather busy during the rehearsal. He’s also listed in the programme as Set and Technical Designer. In his Director’s Note, he writes that the show has been challenging, enriching, and inspiring, as it’s about the journey of creation and bringing it to fruition through all kinds of testing.
But what a solid challenge he has set for himself. I’d like to see more of Moore’s work in the future, whether as a director or actor, as he has potential and an eye for live performance.

The set amply fills the intimate playing space of the Whitby Courthouse Theatre stage—four chairs (three rolling, one easily pulled, and a keyboard). There are three doors: stage right, stage left, and just off-centre. The pianist’s keyboard is located upstage right. From where I sat in the house, there was something far stage right that I couldn’t distinguish. I discovered later it’s an answering machine. The characters will leave messages on it, usually for Jeff or Hunter.

This Whitby Courthouse Theatre production is very New York and adult-oriented in its dialogue and humour. There are many cultural references to the Big Apple, and Moore ensures that the connection is never lost. I smiled because I recognized many of these references. The actors appeared to know who or what they were, so they’d done their homework.

During the pre-show, as the audience enters, various theatre show tunes blare from the speakers as the audience takes their place in their seats. I understand why the songs are blaring. It’s Manhattan and the creative team wants us to know this is New York. It’s a good choice; however, the volume could be adjusted as it’s extremely loud, almost bordering on deafening. Let’s not forget that audience members like to talk to each other or read that terrific-looking programme while waiting for the show to start. Try not to make it uncomfortable even before the evening begins.

While a few sound issues and shadowy lighting glitches exist, these can be remedied for the next performance. I’m willing to overlook these quibbles.

Why?

Music Director Sophia Daunt has adroitly captured some solid vocal numbers and pleasing-sounding harmonies in Jeff Bowen’s often clever and witty lyrics. I closed my eyes for a couple of moments because I wanted to listen intently to the harmonies this committed foursome sang.

Barrett G. Moore shows promise as a stage director. He keeps the pace moving, and it never appears rushed. He creates four likeable and realistic New York characters. He had some interesting stage business during the pre-show that I particularly liked. The four actors are engaged in hushed stage conversations that appear natural. As one of them is engaged in speaking, the other listens attentively and responds in kind.

The other actors create uniquely distinct characters.

Moore is level-headed Jeff. Benjamin Conroy’s performance as ‘wanna-be famous’ gay friend, dreamer and collaborator Hunter is sometimes over-the-top. Still, Benjamin makes his performance work as Hunter because the other three recognize and respectfully accept that ‘he is who he is’ (with apologies to Stratford’s current production of LA CAGE AUX FOLLES and my pal, Steve Ross, who plays Albin and sings the closing Act One number “I Am What I Am.’) By the end of the show, Conroy’s Hunter also becomes a friend.

Carly Richard’s Susan is the only one with a stable day job so that she can do her artistic work at night. Nicole Strawbridge’s Heidi is the only one who appears to have ‘made it’ on Broadway (albeit as an understudy/swing/ensemble). Richard and Strawbridge offer lovely work as juxtapositions to the guys.

Strawbridge’s Heidi is level-headed like Jeff, while Richard’s Susan is the dreamer like Hunter. At one point, about halfway through the show, Moore has Heidi move towards Jeff, and Susan moves towards Hunter. That’s a compelling picture moment because that’s the dream all wanna-be artistic people want – to work with other like-minded individuals and be happy in what they are doing.

A Final Thought: Creating art is never easy, whether it’s done professionally, non-professionally, or community theatre-based.

Art needs to be seen nevertheless by an audience. It makes the efforts of everyone involved worthwhile.

[title of show] needs to be seen. If this is the quality to be expected from Whitby Courthouse Theatre’s summer shows, I hope to see more in the future.

Running time: approximately 90 minutes with no interval/intermission.

[title of show] runs to August 23 at the Whitby Centennial Building, 416 Centre Street South, Whitby. For tickets: whitbytheatre.ca or call (905) 668-8111.

WHITBY COURTHOUSE THEATRE presents
[title of show] an original broadway musical
Book by Hunter Bell. Music & Lyrics by Jeff Bowen
Produced by Amanda Walchuk
Directed by Barrett G. Moore
Music Director: Sophia Daunt
Set and Technical Designer: Barrett G. Moore
Properties Lead: Shannon Widdis
Sound Design and Operator: Sophia Daunt
Lighting and Sound Effects Operator: Mack Gillies
Stage Manager/Projection Design: Mack Gillies

Performers: Barrett G. Moore, Benjamin Conroy, Nicole Strawbridge, Carly Richard, Colin Frotten, Sam Moffatt (August 16)