Playwright: Dan Collins (book/lyrics), Julianne Wick Davis (music). At: Writers Theatre, 325 Tudor Ct., Glencoe. Tickets: 847-242-6000; WritersTheatre.org; $35-$80. Runs through: Sept. 17
I’m split between enthusiasm for this unquestionably exciting world-premiere production and reservations about the value of the work itself, from my perspective as a mature cisgender gay man.
Trevor the Musical’s New York ambitions are obvious from the out-of-town personnel involved and from the production’s size, probably enhanced with commercial theater money. There’s nothing wrong with that (it’s how many new musicals are developed these days), although it makes for an explosively, relentlessly high-energy show that nearly overwhelms the 250-seat Writers Theatre. It’s not Broadway yet. It could be pulled back a touch without losing impact.
The title character, Trevor, is 13 years old, worships Diana Ross (it’s 1981) and is discovering he’s gay. Both narrator and central figure, Trevor is a huge role requiring a charismatic, big-belting song-and-dance dynamo, and this show sure has the right young guy! Eli Tokash is a dazzling, amazing, triple-threat sensation; he has it all and does it all superbly.
The mostly young supporting players are appealing and more than capable, with outstanding work by Declan Desmond (as Trevor’s unrequited boy crush, Pinky), Tori Whaples (Trevor’s would-be girlfriend Cathy), swivel-hips Matthew Uzarraga (Trevor’s best friend Walter) and Salisha Thomas (Trevor’s dream Diana Ross).
Yes, Trevor the Musical is a must-see for wonderful performances in a well-staged (Marc Bruni, director; Josh Prince, choreographer), up-beat, high-energy and mostly-funny show.
Now those nagging reservations. I remember vividly my four high school boy-crushes (one dated my sister!) while having no idea I was gay because homosexuality wasn’t discussed, not even as a negative. No fruit/fag/fairy/queer/pansy jokes—I wouldn’t have understood them anyway. But that was pre-Stonewall. Surely things had changed by 1981? Yet Trevor (musical and film) might as well be 1961.
Also, given the fact that the film inspired The Trevor Project devoted to LGBTQY teenage suicide prevention, I think the musical could/should tell the story more profoundly today than did the film, with its generally-comedic tone. Awareness has changed since 1994, too. Frank Wedekind’s Spring Awakening, written 126 years ago, provides a deeper teenage homo-erotic story (as does its 2006 rock musical version). Trevor the Musical is a well-done, fairly standard musical comedy about a gay teenager. From a gay perspective, it might have been more.