Nudity! Four-letter words! Sex! Gosh, I thought, I may need to write about how shocking The Most Fabulous Story Ever Told is.
But guess what? The Desert Rose Playhouse’s latest production isn’t all that shocking. Instead, it is FUN!
This fast-paced, swirling, millennia-spanning history of the world is actually funny! “Funny” is something we don’t associate with history class much, especially if you had teachers like mine, who not only made the topic dry and boring, but made it worse because the teachers were dry and boring themselves. This show skews those history lessons by asking: What if the world had started out gay?
The “Stage Manager,” played by Terry Huber with an authoritative British accent and a cool demeanor, cues the beginning of the world—which we get to actually witness, thanks to a well-used projection screen; sound, courtesy of multitalented director Jim Strait; and the legendary Phil Murphy’s lighting. The “real” stage manager, Steve Fisher, handles the show’s many changesfrom the tech boothwith characteristic smoothness.
The play starts with Adam, the first man, popping onstage wearing nothing but a jockstrap and a fig leaf. (Well, how else did they keep those leaves pinned on? Did you ever really think about it?) He eventually meets Steve, not Eve, as we have been misled to believe. If you can possibly get your mind off the fact that neither one of them has an ounce of body fat, you can ponder the question of why Peter Mins is credited with the costumes. Costumes? These are costumes? Well, brace yourself for the rest of the show, when you’ll get costumes! (If you’ve seen any of Mins’ work during his 50 years of experience, you must see this, his farewell show, because he is retiring from the business after this production, alas.)
So we meet Ryan Dominguez, playing Adam, and Timothy McGivney as Steve. They manage to spend several thousand years in this play without aging a day, or ever getting cosmetic surgery. Both actors manage their difficult roles and speeches beautifully, and play their laugh lines with wonderfully straight faces. Most important of all, they are convincing. Re-writing the Bible is no small task.
They meet the girls: Wendy Cohen plays Jane, a self-confessed bull-dyke who tries to be mean, but whose sparkling blue eyes hint at vast depths of emotion and humor. Mabel, her femme partner, is played by Lorraine Williamson, a blonde Valkyrie who magnificently resurrects the genius of the late and much-mourned Canadian comedienne, Barbara Hamilton. Jane and Mabel romp through the centuries, reinventing themselves constantly and earnestly. They throw a multitude of surprises at the audience, particularly when Cohen bursts into song, in an astonishingly sweet and true soprano.
The rest of the world’s population is skillfully played by four quick-changing actors who transmogrify into countless roles. Pretty Phylicia Mason gets the girlie ones (Fluffy, Peggy), and she is a delight to watch in every one, including such challenges as a sympathetic Mormon. Mark Demry eats up his tall-guy roles with great flair, obviously relishing turns such as the wonderfully caped pharaoh, and a weary Santa. Jeremy Johnson struts his stuff by playing everything from a serious Bible-wielding priest to a skimpily dressed Christmas elf with a flawless tan. And scratchy-voiced Toni Molano confidently tackles her juicy roles, playing everything from a smug sow on Noah’s ark to a rich televangelist rabbi in a jazzy wheelchair.
Fun? You bet. So let’s talk about the script: If there were a cuss jar on the stage, it would be full by the end of the first act. It would be refilled in the second act (especially thanks to Cohen’s “delivery” scene). But somehow, the language isn’t offensive—it’s just there. Go figure. Park your prudery at the door, and enjoy the wit.
The humor comes mostly from social satire, which is not an easy chore to write or deliver. It targets everything from Greenwich Village to ABBA to fashion choices. Relationships, with their ups and downs and constant change, supply the heavier notes. The tragedies that befall all of us—losses, failures, health issues—present themselves here, too.
How did producer Paul Taylor choose this Paul Rudnick play for Desert Rose’s Christmas show, and how did Jim Strait ever direct it? One has to wonder how many light and sound cues alone are required to stage this. More than the Follies? It is an awesome achievement, gentlemen. The only downer is the stage itself: It’s not making those booming sounds as it was during Desert Rose’s last show, but now it’s creaking and squeaking under the actors’ steps, sometimes loudly enough to interfere with speeches.
If you are curious about what would have happened if the world had started out gay, run to seeThe Most Fabulous Story Ever Told. And be ready to laugh out loud.
The Most Fabulous Story Ever Told is performed at 8 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Dec. 22, at the Desert Rose Playhouse, 69620 Highway 111 in Rancho Mirage. Tickets are $28 for Friday and Saturday shows, and $25 for Sunday matinees. For tickets or more information, call 760-202-3000, or visit www.desertroseplayhouse.org.