Feature: Stage Reading of THE COMPLETE PICTURE at Texas State University

Last weekend, Texas State University presented a stage reading of The Complete Picture, a new musical born from a creative collaboration between Erin Maya (Music, Lyrics, and Co-Book Writer), Nicholas James Connell (Music Supervision, Arrangements/Orchestrations, Additional Music & Lyrics), and Riley Thomas (Co-Book Writer). The reading was directed by Kaitlin Hopkins (former Head of Musical Theatre, Department of Theatre and Dance, College of Fine Arts and Communication; Actor, Director, and Producer) and Tom Delbello (Co-Head of Musical Theatre: Head of Production and New Works, Director, Producer). Music direction provided by Spencer D. Hansen and Nicholas James Connell.

The story follows Kira, a 36-year-old photographer who has never fully confronted her donor-conceived identity. When she becomes pregnant, she’s forced to reconcile with the truth of her roots so she can pass on her entire genealogy. Accompanied by the voice of her dead father—constantly in her ear—Kira embarks on a journey to track down her sperm donor. However, unearthing long-buried family secrets puts a strain on those closest to her, who would rather those secrets remain hidden. Driven by an original rock score and a compelling father-daughter dynamic, The Complete Picture explores the raw emotions, mystery, and complex identity crises faced by anyone trying to uncover their full story.

Seeing a work in progress is a privilege I don’t take lightly. A stage reading gives audiences a rare glimpse behind the curtain of creation. It’s a moment of artistic vulnerability, where writers, composers, and performers share their work to invite feedback and make improvements. Kaitlin Hopkins handled the feedback session with tremendous care and respect for both the audience and the artists. The atmosphere in the room was emotionally charged, particularly after the heart-wrenching "Pat’s Farewell" song. The audience, moved to tears, responded with kindness and generosity in their feedback. It was clear that The Complete Picture struck a deep chord, and the artists were met with the support needed to continue refining this powerful new musical.

The story.

Kira’s on-stage journey begins when she finds out she’s pregnant, triggering a powerful need to reconnect with her origins. Since discovering as a child that her dad wasn’t her biological father, she has been haunted by a sense of disconnection. Her loving parents shielded her from the truth of her conception, avoiding any discussion of her donor father. Now, as Kira prepares to become a mother herself, she embarks on a quest to find her biological father, driven by a longing for historical belonging—a common struggle for many donor-conceived children and adoptees. The musical does an excellent job of exploring this emotional void and the identity crisis that can result from not knowing one's roots.

Along the way, Kira uncovers life-altering truths: her biological father, whom she initially believed to be Irish, is in fact predominantly Hispanic. This revelation is both empowering and destabilizing, as Kira finally understands why she has always felt so different from her parents—her features never quite matched the Irish heritage she was told about. In addition, she learns she has a half-sister, further complicating her emotional journey. The most painful discovery, however, is that her biological father wants nothing to do with her, leaving Kira with an even deeper sense of abandonment. The book touches on the convoluted and often hidden world of the unregulated fertility industry and raises poignant questions about the ethical responsibility of sperm donors and the emotional lives of the children they help create. One of my favorite songs was "No More Waiting", a song that clearly depicts how donor-conceived children may feel about the uncertainty of their origins - from a DNA standpoint.

Kira’s relationship with her dead father Pat, who passed away when she was a tween, adds another layer of complexity to her story. For over 20 years, Kira has been able to hear her father, a representation of her unresolved grief and confusion about her identity. Their final farewell is one of the most heart-wrenching moments in the show, yet the lack of closure—Kira doesn’t respond to her father’s emotional goodbye—leaves the audience feeling a sense of unfinished business. This intentional choice in the writing may symbolize Kira’s continued struggle to reconcile her past, though it does leave some viewers craving a more defined resolution.

The music.

The rock and roll score, while still in development, shows great potential. At times, the lyrics felt overly dense, and some songs could benefit from more melodic hooks to leave a lasting impression. However, the music effectively captures the emotional weight of Kira’s journey, with several standout moments, particularly the farewell song between Kira and her father. Given the musical’s substantial length—likely to exceed three and a half hours once fully staged with choreography—some cuts may be necessary to tighten the pacing without losing the story’s impact.

The stage reading cast.

The cast, primarily composed of current Texas State students, brought sincerity and depth to the material. Blair Medina Baldwin, a BFA alumna of the Texas State Musical Theatre Program, delivered a standout performance as Kira. Her vocal range soared through the rock-infused score, while her nuanced portrayal captured Kira’s internal struggle with her identity and future. Baldwin is undoubtedly a talent to watch. Cami Abraham shined as Veronica, Kira’s donor-conceived sister, and Mia Kaplan hit all the right notes as Mary, Kira’s mother. Jacob Canderozzi, as Kira’s deceased father Pat, delivered an emotional and powerful performance, especially in the heartfelt number “Pat’s Farewell.”

The supporting cast also impressed, particularly the Latinx actors, whose portrayal of Kira’s Hispanic relatives and friends added an authentic and charming dimension. It is essential for the producers and creatives to continue prioritizing diversity in the cast, as it enhances the authenticity and emotional resonance of the show.

Final thoughts.

I was in for a surprising treat on a warm Saturday afternoon. I didn’t expect to laugh, cry, and leave the theatre with so much to reflect on, but I’m so glad I attended this stage reading. The Complete Picture is thought-provoking, emotional, and deeply real. It explores identity, family, and the universal human desire for belonging. While it speaks directly to the experiences of donor-conceived individuals, its themes of self-discovery, parenthood, and cultural heritage resonate far beyond that community.

As with any work in development, The Complete Picture could use a few tweaks, such as tightening up some loose ends in the script, simplifying the lyrics to make them less wordy, and shortenning the length of the show to create a more concise, impactful narrative. These are common adjustments for a product in this stage of development, and with these minor refinements, The Complete Picture has the potential to make a significant mark on the theatre scene.

For more about The Complete Picture, follow the creatives or visit the show's website  here.

About the creatives.

Erin Maya (Music, Lyrics, and Co-BookWriter) has performed at venues all over the country as well as overseas. She has worked as an actress in NYC and regionally for years - Her most notable theatre credit is starring as Helen/Vinnie in the original Boston cast of THE DONKEY SHOW at American Repertory Theatre directed by Tony-Winning Best Director Diane Paulus. Erin is a member of AEA, and a proud advocate for donor-conceived people’s rights & voices. Erin’s creative history as a writer is a rich, interdisciplinary tapestry with several notable highlights. She is the founder, songwriter, and frontwoman of the alt. rock band Erin Maya AND THE RECKONING. She is the creator and producer of a Hamilton “My Shot” parody video called “We Birth the Nation” that achieved thousands of views on YouTube and was referenced in “Music for Women (Survivors of Violence): A Feminist Music Therapy Interactive EBook” by Sandra L. Curtis as a positive example of parody used as a vehicle for activism. Erin has penned articles for several donor-conceived and MPE/NPE organizations. As a female-identifying, mixed, queer donor-conceived artist, her mission is to help change the landscape of musical theatre to a more inclusive one and to use her art to better serve her donor-conceived community. www.erinmaya.com @theerinmaya

Nicholas James Connell (Music Supervision, Arrangements/Orchestrations, Additional Music & Lyrics) is a singer/songwriter, music director, producer, and arranger with a B.M. in Songwriting from Berklee College of Music. He is the Co-Author and Music Supervisor of the current off-broadway hit TITANIQUE which won the 2023 Lucille Lortel, Dorian, Off-Broadway Alliance, & Las Culturistas Awards for Outstanding Musical. He also vocal produced & sang backup on Brian Justin Crum’s “Show Me Love” which reached #2 on the Billboard Dance Chart. Nicholas can be seen playing piano on ENCORE! (Disney+), at Duplex & Sid Gold’s in NYC, and on his Youtube Channel which has garnered 18,000+ subscribers and 12.4 million views. @nicholasconnell

Riley Thomas (Co-Book Writer) is a writer/composer for the stage and screen. Notable projects include the nationwide theatrical release of the feature film “Stuck” starring Giancarlo Esposito, Amy Madigan and Ashanti. Collectively his musicals have garnered 7 accolades at the New York Musical Theater Festival (NYMF) including recognition for book, music and lyrics. On the international film festival circuit, his short films “Beast or Raven” and “Trigger” have achieved over a dozen awards and nominations including Best Screenplay, Best Film, and Audience Choice Award. Riley is the Creative Director of Dark Prophet Productions LLC, as well as a member of ASCAP and the Dramatists Guild. He is a proud queer, neurodivergent multi-ethnic adoptee. @RileyThomasWriter

About Kaitlin Hopkins.

Kaitlin Hopkins is an actor, director, and producer with over 25 years of experience spanning Broadway, regional theater, film, television, opera, and radio. She has dedicated much of her career to mentoring aspiring young actors. Notably, Hopkins originated the role of Meredith Parker in the critically acclaimed Bat Boy: The Musical, earning Drama Desk and Ovation award nominations. She also originated roles in Bare: A Pop Opera as Claire, The Great American Trailer Park Musical as Jeannie, and Disney’s On The Record as Diane.

In 2009, Hopkins founded the Musical Theatre program at Texas State University in San Marcos, TX. There, she spearheaded a New Works program, raising funds to support students and helping to develop and launch new musicals, including Andrew Lippa's A Little Princess and the world premiere of The World According to Snoopy, in collaboration with Theatre Under The Stars in Houston, TX. Though she retired from Texas State University over a year ago, Hopkins remains deeply committed to the program and its young artists. She recently launched the New Works Institute and Writers Retreat in New York, where Texas State Musical Theatre alumni collaborate with Broadway creatives and professionals to develop new works (kaitlinhopkins.net)

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