There’s always someone new coming into cabaret while coming out of the closet, risking coming off self-indulgent. Not this time. Granted, what’s old hat/been-there/done-that for those with more frequent-flyer mileage in cabaret-going is fresh and real for someone going through it, and for a peer-filled audience. So if the instantly-likeable Schuyler Beeman makes a beeline for paths previously trod, so be it. He trots out two overdone-in-cabaret Stephen Schwartz songs, “Meadowlark” and “Corner of the Sky,” but they’re as new for the new generation as is the musical the latter comes from, Pippin. And we get —and “get”— a corner of the Schuyler experience in this autobiographical presentation briefly re-enacting summer camp experiences, quotes from love letters, parent comments, etc. Palpable are his pain, confusions, joys and determination. Naked honesty is in high relief, surveying struggles concealing, revealing and dealing with sexuality amid religion-based repression. Naturally, it helps that he sings powerfully, appealingly and sincerely. Material ranges from Mary Baker Eddy’s hymn (“Love”) to show tunes classic (“Younger Than Springtime”) and modern-day.

Connection would be increased manifold with more true audience eye contact. He and director Martin Peacock might consider varying more the intensity/über-earnestness quotient; Jason Robert Brown’s auditionee’s self-deprecating inner monologue, “Climbing Uphill,” helps. Distracting sharp nodding to cue capable (and seemingly ready) pianist Shannon Collins needs addressing. But Schuyler does what many more experienced can’t do: heart on sleeve, he’ll take the emotional dare to share and make an audience care. And that’s rare.

Rob Lester
Cabaret Scenes
October 14, 2011
www.cabaretscenes.org