The All-American
Genderf*ck Cabaret
Written by Mariah MacCarthy
Directed by Tara Branham
at Mary’s Attic, 5400 N. Clark (map)
thru Sept 7 | tickets: $20 | more info
Check for half-price tickets
Read entire review
Gender stereotypes deconstructed
Pride Films and Plays presents
The All-American Genderfuck Cabaret
Review by K.D. Hopkins
I found a bit of serendipity and synchronicity in watching this interesting and challenging show. This week’s New York Times magazine cover story was about gender fluidity. There is progress in allowing children to be as they are without the gender specific trappings of clothing or activities. The All-American Genderfuck Cabaret gives a panorama of different ways people approach sexual relationships and sexual identity. This is how people got through the rough years before “it gets better” and other advocacy. All the characters start off as various stock caricatures, such as the man-hating lesbian, the closet case, the man whore, the slut, and the non-gender specific host/hostess named Taylor.
One such stock character is the so-called straight man raised to be a misogynist. Coy Benning Wentworth plays the ‘player’ named Adrien. He has a sweet girlfriend, Allegra, who follows the intangible rules of getting a man of one’s own. As Allegra, Britt DeVaney shows vulnerability and a really cool goofiness. I expected deeper rage when Allegra decides to accept that Adrien is a jerk who has slept with one of her close friends and is making the moves on another woman. She literally smashes the mask that she wears to please him.
Echaka Agba gives a standout performance as Gwen, who is a self-labeled slut. Gwen uses sex to make herself heard instead of letting the real intellect and whimsy that is inside her out. Agba manages to present a woman who uses sex in every facet of her being because life on its own is too complicated and too real. Newcomer AJ Froeber gives an enjoyable performance as Benji, who lives with Gwen, and allows himself to be her doormat.
Amy Geist gives a fun performance as Kate the man-hating lesbian who happens to fall for Taylor who has a combination of both. She is really attracted to the feminine side but repulsed by the masculine. It is a relief that the playwright didn’t go all “Crying Game” but wrote Taylor as an enigma to herself and to others from the beginning. One of the funniest scenes in this play is Kate’s class for the men on gender sensitivity in the workplace. She tells them to ‘pussy up’ instead of ‘sack up’. It’s hilarious and true when one considers the female is receptive and the male instinctively protects his berries because of perceived pain if kicked. It begs the question, why do we say “sack up” when that part is the more vulnerable?
I was quite impressed with the fresh take on the subject of date rape. It comes down to a case of miscommunication on both sides and giving in to what is expected. Men are trained and pressured into believing that women make themselves pretty because they want to have sex. . Adrien doesn’t know any better – but that doesn’t let him off the hook. That he recognizes the error in his thinking and behavior is the first step in closing the gap.
Playwright Mariah MacCarthy has written some complex relationships, carefully deconstructing each stereotype to reveal the universal truth. Everybody want to love and be loved for who they are without compromise. Nonetheless, I would have trimmed this production. It is admirable to want to give voice to most of the sexual orientations and genders, but it is too long. (Perhaps dividing the show into two different shows would be a solution?) I wanted to get to know all of the characters and care about each story but part way into the second act I ceased to be intrigued. The fun and skilled cast has been given a very large work for the audience to digest. Director Tara Branham has given as much fluidity and pacing to all of the disparate tales as possible. In the end, I wish that each person struggling with issues of their sexuality would have the luxury of the newest generation of children, where non-gender-specific is given the due respect of being a person first.
Rating: ★★½
The All-American Genderfuck Cabaret continues through September 7th at 5400 N. Clark (map), with performances Fridays and Saturdays at 7pm through September 1st; the final 2 performances Thursday and Friday at 7pm. Tickets are $20, and are available by phone (800-838-3006) or online through BrownPaperTickets.com (check for half-price tickets at Goldstar.com). More information at PrideFilmsAndPlays.com. (Running time: 2 hours, includes an intermission)
artists
cast
Becky Blomgren (Taylor), Coy Benning Wentworth (Adrien), AJ Froeber (Benji), Toph Enany (Dick), Bill Zimmerman (D.J.), Britt DeVaney (Allegra), Moira Begale-Smith (Devon), Amy Geist (Kate), Echaka Agba (Gwen)
behind the scenes
Tara Branham (director); Raquel Adorno (costumes, props); Derek Van Barham (choreography); Justin Verstraete (fight choreography); Raphael Schwartzman (lighting); Shaun Renfro (set); Alex St. John (sound design); Jessica Forella (stage manager); Michael Carioto (asst. director); Sarah Goldberg (asst. choreographer)
12-0815
