DSM-IV in Song is hysterical.

According to the Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition (the source of the "DSM-IV" in the show’s title), individuals with “histrionic personality” (hysteria) need to be the center of attention, and have rapidly changing emotions.  (Sounds to me like most singers, actors and some critics.)

Kevin Scott Collins and Johanna Weller-Fahy (people with three names often exhibit “expansive personality disorder”) delivered on a brilliant concept by using their purposefully-retitled Book of Crazy - DSM-IV to define the mental illness from which each character in their song list suffers.

The strength of this show is that it is concurrently flat-out funny, perceptive, sophisticated and bawdy.  Kevin and Johanna are fearless in their unrelenting exploration of “Nutsville,” while inviting audience participation by a clearly well-lubricated, (“alcohol dependent”) and unhinged crowd.

Both performers, (practitioners?) possess strong voices with quite full ranges, albeit with some parts stronger than others.  With “obsessive” practice and meditation they both could be first tier.  Miss Weller-Fahy's strongest suit is her character belt; Collin’s falsetto is flawless.

The sixteen numbers flew by with many standouts. I can’t specify my personal favorite without giving away the joke, but if you are at all familiar with “Baby and the Circus” you will get it on the first note – possibly reducing you to a state of “apoplexy,” requiring a straight jacket.

The Full Monty’s “Big-A*S Rock”, a sweet song about assisted suicide by violent means, was quite life affirming, and while I did not quite understand the meaning of the song, “Maxwell’s Silver Hammer” (performed by “psychotic” puppets), I had to admire their sleight of hand.

Musical Director Eric Sedgwick supported the duo with deft pianism and showed a knack for finding the right musical subtext in each number, as exemplified with William Finn’s “Whenever I Dream.” He added a Kurt Weil-esque, Weimar Republic feel to the darkly comedic quality of the piece.

Tight harmonies, accelerating tempos and fast-paced ad-libs rounded out the experience. Frankly, if you missed The Book of Crazy you should have your head examined.  Keep an eye open for its return.

Melody Breyer-Grell
Cabaret Scenes
February 13, 2009
www.cabaretscenes.org