Small scale, big laughs, great fun
|Annoyance Theatre presents|
|Skiing Is Believing: A Speedy, Deadly Musical|
|Written by Boaz Reisman & Hans Holsen
Directed by Dunbar Dicks
Musical Directed by Boaz Reisman
at Annoyance Theatre & Bar, 4830 N. Broadway (map)
through March 12 | tickets: $20 | more info
Reviewed by Oliver Sava
Small-scale, low-budget original musicals are shockingly easy to find in Chicago, but good ones are more of a rarity. Often time, lofty ambitions and expectations beyond the theaters’ modest means lead to the undoing of these production, but Annoyance Theatre understands and embraces its limitations to create production that are both economical and gut-busting. Using only a piano, a handful of actors, and minimal set dressing and costumes, Skiing Is Believing is another success for the Uptown theater, a hilarious musical that will appeal to both skiers and non-believers.
Brett (Scott Nelson) and Gary Wheatley (Kellen Alexander) are a superstar skating duo who return to their hometown of Ski-town to celebrate Brett’s upcoming nuptials. After a few shots of Jager with their best “brahs”, Brett and Gary takes to the slopes for a late night ski, until an avalanche buries Gary under a sheet of snow. (Literally a white sheet with holes cut into it; cheap, yet incredibly effective.) The avalanche also takes the life of a baby learning to ski, setting off a stream of dead baby jokes that start off funny with the song “A Baby Has Died,” but eventually become rather tedious. Luckily, these jokes are the only ones that fail to connect, and the baby skiing death leads to some great comic plot developments.
His guilt over the death of his brother and various babies throws Brett into a depression that lasts six months, pushing him apart from his fiancée (Mary Cait Walthall), who channels her frustration in the explosive bridge of her ballad “The Light In Your Eyes,” doing her best Jennifer Holliday impression. Eventually Brett is convinced to reenter the world, beginning with a Gnarleyfest, a wild, raunchy party that ends up taking the life of yet another person close to Brett, his friend Devin (Neil Dandade). The dead bodies piling up pushes Brett out of Ski-town, down south to Panama, where he meets a sassy local named Manuela (Chelsea Devantez) and dedicates himself to building a second Panama Canal in his brother’s memory.
The plot to Skiing Is Believing is completely nonsensical, but the actors are unflinching in their dedication to the material. Productions at The Annoyance are built with the help of the actors, and this cast of improvisers is adept at creating the types of wacky characters that would inhabit a musical as ridiculous as this one. The Panama setting in the second act is basically used to give the actors an excuse to use exaggerated Latin accents, but they are so funny that the laziness in the plot is excusable. The music is infectiously catchy (“Seeing me skiing is seeing me being happy!”), fantastically sung, and the characters are exaggerated but fully realized, making Skiing Is Believing one of the strongest small-scale musicals I’ve seen in quite a whole. If you’re brave enough to brave the treacherous slopes of Ski-town, it will make a believer out of you, too.