Show is a big blast in tiny space

BY BOB FISCHBACH, WORLD-HERALD STAFF WRITER

Tiny stage, cast of eight. Call it the little musical that could.

Brian Margritz is Timothy and Jennifer Gilg is his alter-ego, Jessica, in "Splendora."

Chances are, you've never heard of "Splendora." But like "The Last Session," another small, gay-themed SNAP musical two seasons ago, this show is diminutive dynamite.

Tricky melodies and rhythms and witty rhymes make "Splendora" a cousin of Sondheim - a decidedly country cousin, with broad Texas characters. Though it deals with themes of intolerance, hypocrisy and self-discovery, its tone is lighter than most Sondheim.

Splendora is a small town from which young Timothy fled after persecution for his effeminate nature. Fifteen years later he returns as a lace-and-parasol transvestite, Jessica.

The town adores Jessica. The gossips emulate her, eager to back her community projects. But then a young minister falls for her, and a local snoop, Sue Ella, figures out her secret.

So we get beautiful romantic ballads and tortured inner conflict, balanced by hilarious patter songs that nail small-town life.

Musical director Rod Carlson doesn't have the depth of vocal talent he did for "The Last Session," but hard work pays off with some lovely harmonies and clear enunciation. This is tough music, and Carlson delivers.

Director Scott Jackman and choreographer Wai Yim more than make up for missed notes with strong staging and terrific comedic instincts. The result: big laughs, big applause, big hit.

What sets "Splendora" apart is a brilliant conceit: two actors play the male and female aspects of Timothy/Jessica, appearing together. But others can see only the one whose personality dominates at the moment.

Jennifer Gilg is nearly flawless as the poised, self-confident Jessica. Her lilting soprano is the best voice in the show.

Brian Margritz is an anxious and a tortured Timothy, a strong contrast to Gilg but less subtle in characterization. His pitch wavered early, but he came on strong in the second act.

Audience favorites were handsome Kevin Bensley as the preacher, a smooth actor with a nice baritone; Terry DeBenedictus as Sue Ella, who brought down the house with the killer lyrics of "Don't Get Me Started" and whose delivery created laughs where there weren't any; and Therese Rennels as Maga Dell, a gal with round heels. Her bump-and-grind number about the Dewey Decimal System will double you over.

Liz Heim, Tara Kennedy and Gina Schoening have fun as the local biddies, nailing swell choreography on numbers such as "Pretty Boy" and "In Our Hearts."

Set designer Don Nguyen does wonders on a budget and in limited space, and costumes by Travis Halsey are outstanding.

It's 21/2 hours with intermission, but it flies by, and SNAP is sure to fill the 50-seat venue as word gets out: This is one fun show, served up with panache and joy by a talented cast and crew.

Reviews
Omaha World Herald
The Reader

by Meg Arader, for The Reader

With Splendora, the folks at SNAP! Productions have uncovered a rare gem: an enchanting musical that deals with deep psychological and social issues while remaining accessible and enjoyable throughout. Adapted with remarkable integrity from Edward Swift’s 1978 novel, Splendora the musical started life in 1995 with an auspicious win of the coveted Richard Rodgers Award, an honor that included a $100,000 production budget. The Bay Street Theater in Sag Harbor, N. Y., mounted the world premier that same year. Revived in 1999 by New York’s Illyria Theatre, Splendora has garnered critical praise yet remains relatively unknown.

Splendora begins with an impromptu memorial service for the late Miss Jessica Gatewood, a prominent citizen of Splendora, an imaginary small town in east Texas. Representing Splendora’s citizenry are five ladies ranging from the local telephone operator/town slut, Maga Dell (Therese Rennels), to Zeta Earl (Tara Kennedy), wife of the most powerful man in town. As the performers sing about Miss Jessica’s demise in a house fire (Her body was burnt, but our memories weren’t) the audience is introduced to Splendora’s singular sensibilities. Humor with a Southern Gothic flavor balances Splendora’s heartfelt themes of love and acceptance. (Readers be forewarned: Discussion of Splendora requires the revelation of a secret, so those who wish to remain "spoiler free" should stop reading here.)

The scene flashes back to the arrival of Miss Jessica in Splendora. Jessica (Jennifer Gilg) dresses and speaks as if she just stepped out of a Victorian novel, an eccentricity that at inspires first ridicule and then imitation. Jessica is the town’s new librarian, and she quickly jumps into the role of public-minded instigator left vacant by the death of Esther Ruth Coldridge, whose sachet- and doll-filled Victorian home Jessica has purchased. But Jessica does not arrive in town alone. She is accompanied by Timothy John Coldridge, Esther Ruth’s grandson, who, we learn in the song "Pretty Boy," was raised in dresses by Esther Ruth and ridiculed for his effeminate manner before disappearing 15 years before. Timothy John (Brian Margritz) shadows Miss Jessica as she becomes the most admired woman in town and starts a drive to tear down the modern exterior that obscures the historic architecture of the Splendora Town Hall. But when Miss Jessica steals the heart of assistant pastor Brother Leggett (Kevin Bensley) Timothy John is faced with a crisis. As becomes clear early on, Timothy John and Jessica are one and the same, and Timothy John must decide whether to flee or face the world without his own protective facade.

The decision by Splendora’s creators to portray Timothy/Jessica with two actors allows the musical to delve into the process of self-discovery, director Scott Jackman noted. "Really what you are doing is eavesdropping on the mind of this character," he said. With this choice, Splendora’s central relationship is the one between Timothy John and his alter ego. Because Jessica is clearly inspired by Esther Ruth, it is also the story of Timothy’s attempts at reconciliation with his past. One need not be a transvestite to find resonance in this theme.

Adding immeasurably to the quality of the production are the costumes by UNO student Travis J. Halsey. Halsey built the period costumes for Jessica and Timothy John, and he relates the two characters with a subtle use of color and texture. Jackman and musical director Rod Carlson have assembled a strong cast of actor/singers who attack the melodic and demanding score with gusto. The witty lyrics move the plot along and fill us in on the complicated pasts of both Splendora and Timothy John, and the cast sings them with strength and clarity. Of special note is the performance by Glig. An attorney by day, Glig possesses a lovely soprano voice, and she portrays Jessica with a spirited combination of refinement and randiness.

But the strength of Splendora lies in the genuine relationships Jackman and cast have created between the characters. Whether portraying the comic aspects of the Jessica/Timothy John/Leggett love triangle or the moving specter of Timothy John finding comfort in the arms of Jessica as he faces painful memories of his childhood, Splendora brings us closer to our own hearts.