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Regional Reviews: Minneapolis/St. Paul Fruit Fly: the Musical Also see Arthur's reviews of The Debutante's Ball, The Wonder Boy and The Nature Crown
The narrative is mapped out on a white board, center stage, along with a list of cultural references to be included along the way, and a space to tally the multiple Stephen Sondheim references. With this graphic organizer we can see at any point during the show's ninety minutes where we are and where we will be going—conflict, bliss, Sheena's big number, Max's big number, etc., all leading up to the big finish. This might remove the element of surprise from the occasion, but really, what surprise can there be? Here they are, Max and Sheena, both on stage performing the show they wrote together about their amazing friendship. Of course we know how it will end. We first see Sheena and Max in their high school years, when they have already been friends as long as they can remember (having met through participation in regional children's theater) and Sheena has a hope of moving from a platonic to a romantic relationship. Gradually she acknowledges the reality that Max is gay, but their friendship charges right along. We see them still as best of friends in college, and again as they set out on careers. All very nice, lots of cute moments, but not much changes—until Sheena falls in love with a heterosexual man, and Max feels abandoned as Sheena invests her time and energy into this new relationship. The remainder of the show represents the push-pull of their friendship as they each work to acknowledge and appreciate its importance in the context of their wider lives. This is a slender story. Its joy can be appreciated by anyone who has had a joined-at-the-hip friendship, its pain felt by anyone who has had this friendship challenged by the arrival of a new friend, or even more threatening, a romantic partner. Whether or not a friendship survives those challenges depends on many factors. Max and Sheena illustrate numerous ways in which they come close to blowing their friendship, but in the end the love for one another that had drawn and kept them together for so long prevails, and we can celebrate with them their good fortune. Both Max and Sheena are exceedingly cute, and their chemistry with one another is obviously the real thing. To their credit, the scenes were they are angry and hurt by one another are very believably played, even as we know that they will find their way back to each other. Sheena has the more melodious singing voice, along with a capacity to display her feelings at all times. Max has the capacity to suppress his feelings, acting out in ways contrary to what we know is really going on within him. That duality is actually a more complex kind of performance than might first meet the eye. Both of these actors clearly are talented. Even as they play themselves, they are creating full-bodied characters. The lyrics written by Sheena and Max are extensions of their dialogue so that they come across as authentic, if not necessarily lyrical. As the songs are not listed in the program, I am not sure of their titles, but Max's song about drinking alone on Tuesdays (after Sheena breaks their standing TV date to spend time with boyfriend Sam) is particularly effective. Michael Gruber's music adds emotional shading to the lyrics, peppy, rueful, or determined as called for. None are particularly memorable, but they work well enough within the context of the show. Jill Dawe, Fruit Fly's music director, provides piano accompaniment, ranging from lovely to jaunty, as fits the songs. The show is staged by director Nikki Swoboda with constant movement and clever use of the several performing areas set out on the stage, maintaining visual interest even with just two actors, no costume changes, and no scenery to speak of, save the looming white board mentioned above. At times the story seems to repeat its themes, or a particular moment feels stretched out, but these two likeable and energetic actors are always interesting to watch. Fruit Fly: the Musical was first performed as a shorter work at the Minnesota Fringe Festival. Having not seen it then, I wonder if it might have played with more punch and vitality with its narrative more compressed. As it is, at ninety minutes, it feels like it takes longer than needed to arrive at its conclusion, especially as the conclusion is never in doubt. While it plays as light entertainment, the questions raised in Fruit Fly: the Musical are worth considering. Is friendship that offers everything but sex enough? If not, how do friends maintain their powerful friendship while they also turning outside to develop a healthy, committed sexual relationship? These questions are not only the province of a Fruit and his Fruit Fly, to use the play's jargon. They are part of the challenge, mystery, and special joy of deep friendships, no matter the gender of sexual orientation. The Catalysts' production of Fruit Fly: the Musical continues through April 11, 2015, at the Illusion Theater, 528 Hennepin Avenue, Minneapolis, MN. Tickets are $18.00 - $25.00. For tickets call 612-339-4944 or go to illusiontheater.org. Written by Sheena Janson and Max Wojtanowicz; Music: Michael Gruber; Director: Nikki Swoboda; Musical Direction: Jill Dawe; Set Design: Dean Holzman; Lighting Designer: Mike Wangen; Costume and Prop Designs: Nikki Swoboda; Wigs: Robert Dunn; Voice-overs: Beth Desotelle and Melissa O'Neill; Stage manager: Kate O'Connell Jandric; Production manager: Per Greibrok and Kevin Opatz. Cast: Sheena Janson (Sheena), Max Wojtanowicz (Max), Jill Dawe (Pianist)
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