Sharps and flats

Strong acting and weak singing make for a ‘pop opera’ that doesn’t always pop

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Friday, Oct. 7 — It was the best of musicals, it was the worst of musicals — andit lasted two-and-a-half hours. As the debut production of upstart theatercompany Touch Your Soul Productions, the pop opera “Bare” deserves commendationboth for its choice of topical material and also for its commitment to producingthe entire project on a shoestring budget.

Centering mostly around two teen boys growing up Catholicand queer, “Bare” at its best feels like the Off-Broadway amalgamation of “SpringAwakening” and “Rent,” set at Sister Mary’s “High School Musical.” Showdirector and company founder Dennis Corsi and his Michigan State Universitystudent cast deserve ample credit for their hard work, as demonstrated by theirhonest and convincing performances, completely free of slipped lines or poorpacing.

“Bare,” as previously mentioned, is a “pop-opera,” whichmeans lots and lots of singing. With few exceptions, these actors lack thenecessary vocal support or range to do justice to most of the musical material.The final result is a strangely inconsistent train ride — highlighting the dramaticpotential of Corsi and his cast while exposing their weaknesses as singers — thatjust barely stays on the tracks.

Christopher Robinson and Michal Kolaczkowski play Peter andJason, two teens coming out to each other but fearful of telling anyone else.Erika Moul plays the misunderstood school slut, Ivy (signified by her knee-highstockings and bare midriff), while Krista Delong plays her sharp-toungednemesis, Nadia.

As a script and story alone, “Bare” respectfully displays thepain and confusion of Peter and Jason searching for answers from a religionthat frustratingly sidesteps their core concerns. Direct questions duringconfession are given inadequately theological responses from their priest (GrahamLundeen), who urges them to ignore the very element shaping their immediateidentities.

Jon Hartmere and Damon Intrabartolo’s book cleverlyintegrates Shakespeare’s “Romeo and Juliet” into a present-day tragedy,providing a literary structure lined with sharper dialogue than a Tina Feymemoir. But “Bare” also insists on being sung, and the music written by Intrabartolooften lacks a hook or even a consistent melody that one would associate withthe “pop” description. In many songs, Hartmere’s own lyrics sound like thestream-of-consciousness ramblings of a teenage diary instead of crisp numbers,giving the show an unfortunate over-explanatory, under-edited quality.

As actors, Robinson and Kolaczkowski have incredible charmand chemistry that fuels their conflict and the show’s essence. Moul and Delongspar beautifully with each other, creating moments that are brutally funny andsadly true. In the featured role of Sister Chantelle, Selame Scarlett confidentlycarries the church counterpoint as a take-no-prisoners nun with a heart full ofempathy.

The rest of the cast (15 in total) provide performances far beyond theirglorified chorus duties by nailing brief comic asides and blending perfectlywhen singing as a complete ensemble. If only “Bare” was a musical withoutsolos, duets or trios. But it is.

'Bare'
Touch Your Soul Productions
Residential College in the Arts and Humanities Theater in Snyder-Phillips Hall, MiSU
7 p.m. Thursday, Oct. 6; 8 p.m. Friday, Oct. 7, and Saturday, Oct. 8; 2 p.m. Sunday, Oct. 9
$10 general admission; free for students on Thursday and Sunday; $7 students for Friday and Saturday
Email reservations to ReserveTouchYourSoul@gmail.com
www.touchyoursoulproductions.com

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