“The Great Daisy Theory” refers to Susie Mosher’s mother’s theory concerning our final destiny. Heaven is discredited, as one ends up compost, eventually transforming to other forms of life—animal, vegetable or mineral. As a child, Ms. Moser was devastated by her mother’s pronouncement. The stage has thus been set—allowing the performer to reminisce about their dysfunctional relationship and Mosher’s Sisyphean struggle to make a living as a performer.  For a time that dream was realized as she secured a role in Broadway’s Hairspray.

Mosher seemed to have a decent belt, but she consistently broke up the songs (just a couple bars in) with insights regarding how each tune related to her life and struggle. Her moderately pushed and monochromatic voice is theoretically improvable if she could calm down and take a look inside, as she is excessively extroverted. Ironically, there was a bit about a boyfriend leaving her because he thought she was too noisy.  Hmmm…

One prime example was the story about of how she was only allowed to stay up for a portion of Peter Pan (she was three) before being sent to bed—staying up all night staring out a window, wondering if she herself would ever fly. We did not hear the whole song "Never Never Land." Other snippets such as the rock classics “White Bird” and “Going Up the Country,” were somehow woven into her narrative.

There were some funny bits along the way, such as a condensed version of the whole of Jesus Christ Superstar and “The Patty Duke Show Theme Song.” The latter cutely described her alcoholic mother’s dual personality. Mosher also gave us hints of what she could do with her voice if she would take it down several notches, as the first phrases of “My Life” suggested. Starting off in just a whisper, she let us know what was really in there, if she would let us see it.

Melody Breyer-Grell
Cabaret Scenes
July 11, 2010
www.cabaretscenes.org