Bathhouse the Musical!

What started off as a thirty-minute show at the Fringe two years ago has grown into a ninety-minute production that is about to embark on a national tour. Tim Evanicki and Esther Daack's uber gay musical comedy has attained quite the following, but Bathhouse the Musical! will soon have to realize that the following is limited - especially for those that have a hard time getting the in-jokes of this particular piece because they have never actually visited a bathhouse. Even with a mostly game cast, including two performers who are sublime musical comedy actors, Bathhouse never really seems to gain enough momentum to overcome its over-length and some important flaws in the writing that need to be fixed in order to make the script a little more coherent.

Bathhouse the Musical! follows a series of adventures in a "friendly neighborhood bathhouse," during which newly towelled Billy (the outstanding Dick Baker) learns the ropes in a series of vignettes taught by fellow guests and an omnipresent voice (the sublime tones of Orlando International Fringe Theatre Festival producer Beth Marshall). What comes are musical numbers about steam rooms, Internet "dating," working out, and more. Some are funnier than others (with "Penises Are Like Snowflakes" winning the prize as the cleverest, most unexpected number), and there are even moments of tenderness provided in the honesty and the beautiful singing of Mr. Baker.

But tender moments apparently have little place in this musical, or at least in Jay Falzone's generally excellent staging. In the first of two emotionally driven musical numbers, "Lonely Love Song," Mr. Baker is forced to dig through a bag of sex toys which seems to force the audience into thinking that these are not characters we are supposed to care about - apparently we're only meant to laugh at them. Falzone's choreography is professional and nicely executed, although there are enough pelvic thrusts to poke an eye out and enough groping to cause arthritis.

The major problems with Bathhouse lie within the protagonist's throughline. It doesn't make sense that Billy is awkward and naive in the book scenes but manages to somehow throw away the towel (so to speak) in the musical numbers, showing off a brash and sexy quality that is believably played but inconsistent with his own character. Perhaps a fifth bathhouse boy needs to be added to fill in where Billy does in many of the musical numbers, but that would sadly deter from the amount of time we get to spend watching a polished performer showcase his obvious skill.

Of the remaining actors, only Gaetano Pugliese's Maurice seems out of place. He has difficulty with the singing, especially in moments where harmony is present (which it is, frequently). Matthew Barbato (as Teddy) and Jeff Brooks (as David) are solid, with Brooks equal to Baker in vocal skill and presence. Eric Alsford's musical direction is fantastic, and since there is no listing in the program to suggest otherwise, his piano playing is skillful and excellent.

Bathhouse will be a hit anywhere it goes. Just don't expect it to be on the ballot for next year's Pulitzer Prize. But, judging from the writing, a prize that sophisticated is hardly the bullseye this musical is targeting.

Mark Baratelli

From listening to a Mark Baratelli podcast or watching one of his video blogs, one can come to expect a very funny man with a very funny point of view. But to witness Mark Baratelli in person, as one can in his self-titled Mark Baratelli at the Orlando International Fringe Theatre Festival, is a completely overwhelming experience. In this in-your-face style motivational seminar featuring multiple characters - including his podcast stars Lady Raptastic and Vivian Beaumont - Baratelli showcases his incredible wit, fast-talking comedy, and a wonderful singing voice. And through it all - or maybe in spite of it all - he manages to sell his "How Do You Feel?" seminar's message. You can't help leaving with a smile on your face - and you surely can't help leaving without thinking you've just witnessed one of the best improv comedians you're likely to come across.

Sure, some of the song lyrics don't make sense (but a smile from Baratelli seems to make it okay - they probably don't make sense to him), but that is bound to happen in a piece that is entirely unscripted. His ability to instantaneously create dialogue that is apropos to the here and now is wildly impressive, and lines like "Life is a road you drive on with your body car" are so incredibly fresh and unexpected that you can't help howling with laughter. His alter egos are incredibly different, and, while he only dons one miniscule piece of clothing to represent these people, you can't help but believe he is an octogenarian or a big, black woman.

It's hard to know just exactly how much direction is involved in this presentation, especially since Baratelli is improvising the whole thing - but Chris Dinger is credited as a director, so I'll give credit where credit is due. Add to that the surprise appearance of pianist David Brown, who provides lovely scoring for two Baratelli originals, and you get a wonderful evening of fulfilling creation.

Don't miss out on Mark Baratelli - here or anywhere you may have the opportunity to catch this incredibly gifted actor.

The Orlando International Fringe Theatre Festival closed on May 26th. For information about this festival, visit its in-depth website at www.orlandofringe.org.

- Matthew MacDermid