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Posted: Mon., Jun. 23, 2008, 5:00pm PT
Bash'd: A Gay Rap Opera
(Zipper Factory Theater; 199 seats; $55 top) A
Stephen Kocis, Carl D. White, Paul Boskin, Michael Filerman presentation, in
association with David J. Gersten, of a musical in one act with lyrics by Chris
Craddock and Nathan Cuckow, music by Aaron Macri. Directed by Ron Jenkins.
With: Chris Craddock, Nathan Cuckow.
Canada is not an obvious
breeding ground for great white rappers -- remember Snow? -- but the Caucasian
Canucks behind "Bash'd!: A Gay Rap Opera" have skills. Their 65-minute
concert-cum-musical, transferring to Off Broadway's Zipper after berths in
Canada and the New York Fringe Festival, not only puts a smart spin on gay
rights but also delivers some radio-worthy hip-hop.
Musically and dramaturgically, the rapped-through show is a study in
aggression. Telling the story of a gay Canadian couple whose marriage is marred
by violence, narrators T-Bag (Chris Craddock) and Feminem (Nathan Cuckow) argue
whether the young lovers should fight back or simply move on.
Duo also play every other character in the story, voicing perspectives from
radical activism to staunch homophobia.
That's a potent approach. The gay community has long been divided over its
relationship to straight culture, and the increasing acceptance of gay marriage
only propels both sides: From one vantage point, marriage equality grants
everyone the same human dignity, but from another, it assimilates gay people
into hostile hetero traditions.
T-Bag and Feminem debate this issue in blunt political terms, but Craddock
and Cuckow, also the show's lyricists, shrewdly leave the rhetoric to their
narrators. The rest of the characters embody the human side of gay rights, as
when naive country boy Dillon (Cuckow) falls for street-smart city kid Jack
(Craddock). Both men have archetypal qualities, but they also have specific,
relatable traits.
Thesps' sweet-natured chemistry makes it easy to accept love is blooming, and
sharp acting choices turn secondary characters like a timid support group leader
and Dillon's conservative father into more than political signposts. Each facet
of the gay rights debate is taken seriously, and no one -- not even Jack and
Dillon -- is portrayed as perfect. When consequences erupt in the final scene,
the script insists everyone share the blame.
A mawkish coda tacks on an unnecessary moral, but otherwise, the show leaves
the audience with a refreshing opportunity to make up its own mind.
But "Bash'd" is more than just social issues. Craddock and Cuckow include
plenty of comedy, and director Ron Jenkins adds his own funny touches. A song
about the various stereotypes in a gay club becomes a satirical tour de force,
with the narrators embodying everything from brainless twinks to militant
lesbians (and finding examples of each in the audience).
And while it's easy for hip-hop shows to devolve into rappers standing still,
Jenkins crafts a string of expressive moments. Sometimes, for instance, one
thesp silently lip-syncs with the other, suggesting that a particular verse has
universal weight. In one moment, Jack leaps onto Dillon's back to rap about how
much he loves him, physicalizing the couple's supportiveness.
As rappers, both thesps have an impressive, hypnotic flow, and they manage to
maintain it even as they act their words. (Rapping with emotional emphasis is
difficult, since pauses and inflections can sabotage the rhythm of a verse.)
The duo's lyrics are as smooth as their delivery, with only an occasional
awkward slip.
Aaron Macri's music matches every twist of the story, cheekily referencing
Eminem or launching a throbbing, club-ready assault. His grace note comes when
the boys get married: As they rap about their commitment, Macri swirls a sample
from Pachelbel's "Canon in D" into a sunny dance beat. The music is so joyful
and engaging that it seems like the perfect soundtrack for falling in love. It's
another way the show turns a cultural movement into satisfying entertainment.
Musical Numbers:
Costumes, Chase Tyler; lighting, Bradley Clements;
sound, Kris Pierce; production stage manager, Scott F. DelaCruz. Opened June 23,
2008. Reviewed June 16. Running time: 1 HOUR, 5 MIN.
"Cocksuckaz," "Coming Out the Closet," "Grab Some Ass,"
"Love Theme/Baby I'm Your Man," "Marriage Proposal/Debate," "The Wedding Day,"
"Bash'd," "The Support Group Meeting," "Straight Bash'd," "Heaven,"
"Reprise/R.I.P."
