In The Stops, by Eric Lane Barnes and Drew Emery, three “lady” church organists seek to help their mentor, one Dale Meadows—a music director and composer of church organ music—who’s been presumably fired from his synod position for being gay. The three ladies are Ginny, who frequently grabs a little nip from the flask in her patent leather tote (and, the night this reviewer attended, was played by understudy John Boss); Rose, raised New York Jewish, now Christian, but still talks with her hands and never says an ‘r’, presented with the best of one-liner timing by Paul Montondo; and Euglene, the over-ardent fundamentalist played seamlessly by Steven Kimbrough, who makes this self-righteous character engaging and believable. While the show is performed by three men in drag, it generally avoids any sexual innuendo. Its moments on the gay respect soapbox don’t go overboard. The reason The Stops is worth seeing is that it is funny—especially its first act. The three gents all sang well and landed the playwrights’ comedy. Rhyming “beanie,” “weenie” and “zucchini” in “The Potluck” is one of many clever lyric turns. Most of the numbers in the show are solos and it could actually use more duets and trios. When, in reconciliation of their religious differences (Nazarene, Southern Baptist and ex-Jew), the “ladies” bring their voices together in beautifully executed gospel harmonies, it’s magical.
(Pictured: Paul Motondo, Steve Kimbrough, Ginny. Photo by: Timmy Samuel, Starbelly Studios.)
Carla Gordon
Cabaret Scenes
June 26, 2010
www.cabaretscenes.org
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