Bare a pop opera

Author: Jameson Studwell

Just weeks after Vermont passed a bill affirming same-sex marriage rights, Middlebury welcomed "Bare: A Pop Opera," put on by the Middlebury College Musical Players, to the Town Hall Theater. The plot of "Bare" follows the tragic love story of Jason and Peter, two students at a Catholic boarding school, as they struggle with being homosexual adolescents under the pressures of modern society and religious institutions. The play follows the course of their clandestine love from their bitter attempts to reveal themselves to the world to the tragic final graduation scene where they have broken up, Jason has gotten a classmate pregnant and overdosed, and Peter is left to pick up the pieces. "Bare" tackles not only the theme of young homosexuality but also the gamut of problems plaguing our modern American youth. From body image to teen pregnancy, from drug culture to parental expectations, "Bare" lays them all out for scrutiny.

Admittedly, the show was too long - an hour-and-a-half first half is too long for any show, let alone an angsty pop opera. The characters and the trajectory of the musical were also somewhat predictable. Did anybody think for a moment that Ivy wasn't going to get pregnant?

However, the actors did a credible job getting into their parts and portraying the characters believably. Nathaniel Rothrock '12.5 is a newcomer to the Middlebury stage, but he pulled off a convincing performance as Peter, the closeted homosexual caught between his identity and his faith. When Rothrock did not push his voice, it was clear and frank, making Peter appear sincere and adding a certain idealistic potency to his monologues about the crisis of faith he experienced during times of emotional agony.

It was hard to get past the image of Schuyler Beeman '09, who plays Jason, half-naked and writhing underneath his costar Jess Spar '11 (Ivy). But it does not overshadow the credible acting that the hunky golden boy did elsewhere. Beeman captured both sides of his character- naturally charming but also tormented by his attempts to conform to the expectations of his parents, society and the church. The character of Jason dug into what it is like to hide one's identity by playing a role.

The minimal sour notes of opening night were far outdone by some technically and emotionally beautiful moments. The opening chorale showcased the singing talent of the entire ensemble, which blended well, even though the exposure of such a small group made it difficult. Likewise, the pit orchestra deserves a nod for staying tightly together while covering a range of musical genres. Catherine McCarthy '09, who played Peter's mother, also created a beautiful moment with her solo in the second act, voicing the difficulty of parenting and loving a child that never seems to grow up according to plan.

Two of the leading voices stood out: Sasha Rivera '12 and Darryl Johnson '12. Rivera, who played the golden boy's sardonic sister, Nadia, showed how the right voice could make the part come alive. The role of Nadia is a comedic gem, providing a dark background humor for the rest of the play, but Rivera's portrayal was the perfect mixture of comedy and tragedy. She carried on her shoulders the weight of oppressive parental expectations, the shadow of her brother and her own self-image issues, and yet she was able to sing in pitch while making every line sound like an impassive one-liner. Johnson stole the show, cross-dressing in the role of Sister Chantelle. Although the audience chuckled happily when he first appeared on stage, by the end it was apparent that he had something unique to bring to that part that no one else had: attitude. Johnson had the voice of a classic gospel singer and the attitude of Diana Ross, providing some much-needed comedic relief and even tenderness and guidance to the lost sheep at the school.

A hearty kudos must also go out to the play's director, Kyle Drevline '12. In his first time producing for MCMP, Dreyline put together a production that was emotionally engaging. By limiting the actors' action during their solos, he built intensity into their minute gestures and drew the audience into the lyrics, which are both funny and true when audible. He even managed an opening night without a major tech malfunction.