Many years ago, theaters fielded complaints from patrons who wanted to see no more plays about “those people.” The plays were those of the late, great August Wilson, who decade by decade chronicled the African-American experience in the 20th century. These literate theatrical works capture a vernacular, a people and an era. Wherever Wilson’s work is produced now, disparate people flock to it and are united in greater understanding.
Similar complaints were heard when mainstream theaters produced gay- and lesbian-themed works, as if “those” people hurt and bleed and die differently than “these.” Gay, lesbian, bisexual and transgender characters are becoming more and more common in mainstream American theater today, but works entirely about those “others” are presented mostly by theaters devoted to producing works by, for and about the GLTB communities.
A case in point is San Diego’s Diversionary Theatre, founded in 1986, where the mission is to produce plays with lesbian, gay, bisexual and transgender themes that portray characters in their complexity and diversity both historically and contemporarily.
Currently and contemporarily, Diversionary and Rose Marcario present an award-winning and entertaining new work that wowed audiences in Los Angeles last season. It’s Patricia Cotter (book) and Lori Scarlett’s (music and lyrics) “The Break Up Notebook: The Lesbian Musical.”
Staged by Peter Schneider, with musical direction by G. Scott Lacy and choreography by Christine Kellogg, “The Break Up Notebook” is a winning piece that features one of the most talented and appealing musical comedy personalities seen in many moons. Her name is Beth Malone. Remember the name. She’s already appeared on- and off-Broadway. One wonders how long the West Coast can keep this marvelous, easeful performer, who possesses a sweet, vibrant voice, rare insouciance and charm to spare.
Malone portrays Helen, a 33-year-old lesbian who’s been dumped by her girlfriend for another woman. She is despondent despite supportive friends that include her best gay boyfriend Bob (Andy Collins in a charming performance) and best girlfriends Joanie (Molly Lahr) and Monica (Tori Roze), a femme/butch couple fighting against stereotype.
Helen sets out on a hilarious search for love. Bad dates include a dominatrix named Casey (Chrissy Burns in a dynamite performance) and various inappropriate others (the ensemble). She finally clicks with Casey’s ex, Francis (lovely, leggy Mei-Ling Downey), but Helen is ready to settle into monogamy, while Francis wants to continue playing around. Helen dumps Francis when the latter is two hours late to her own Polynesian birthday party, hosted by Helen.
Other ensemble members include San Diego performers Melissa Fernandes and Jeannine Marquie in multiple roles. The Jeanne Reith-inspired costumes are an absolute stitch, and so are the character-enhancing wigs.
Cotter’s dialogue and situations are hysterically funny; the denouement is uplifting and life-affirming, especially to anyone who’s been dumped, and haven’t we all, regardless of sexual preference? The humanity comes through, and Scarlett’s songs are a delight, particularly the duets for Casey and Helen (“I’m on Fire”), Joanie and Monica (“Lucky, Lucky Me”) and Helen and Bob’s “Barnacle of Love,” which one has to admit is a pip of a title.
In addition to its unbeatable performances, the best thing about “The Break Up Notebook” is the fact that it is not amplified. Blessedly, luscious, sweet singing and diction prevail. Currently it is scheduled to play through Aug. 12, with performances at 7:30 p.m. Thursday, 8 p.m. Friday-Saturday, and 2 and 7 p.m. Sunday. Diversionary Theatre is located at 4545 Park Blvd.
For tickets and information, visit www.diversionary.org or call (619) 220-0097.
