Review: PASSING STRANGE Rocks Out at Standing Room Only Productions

PASSING STRANGE cements Standing Room Only Productions and Obsidian Theater as the most likely place to see a passionate rock musical with an astounding cast in an intimate space. TUTS, Stages, the Alley? They aren't going to be able to execute the kinds of things this group is doing with reinventing the theatrical experience for Houston audiences who demand a little more fire and adventure. This story is universal, but the intricate score and stellar cast are unique and astounding.

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The show was created by Stew and Heidi Rodewald in a production that seemed like it would begin and end with its creators. Stew was such a unique voice, and the piece tells his story of growing up in a black middle-class Los Angeles home and his rebellion against that. He goes off to Europe to find sex, drugs, and rock and roll. Along the way he discovers what is actually important in life, and asks the hard questions about cultural identity and what art means to the artist. What is real? What is pretense? It was a show so special it started in Berkeley, but ended up on Broadway where Spike Lee decided to film it for posterity. All along the way Stew was the star, and it seemed like PASSING STRANGE would start and stop with him.

I went into PASSING STRANGE wondering if a small ambitious theatre company in the Heights could manage to take such a personal show and reinvent it to suit them. Boy, was I wrong for questioning them! The cast is strong, the musicians are on point, the set works, and the heart of the story is retained even without an autobiographical actor taking on the narrator role. Director Vance Johnson has figured out how to do this thing without its creator, and he has given it legs and life.

The challenge is that PASSING STRANGE is a memory play where a narrator introduces the audience to a "youth", and then proceeds to tell his story through several genre defying songs that incorporate punk, country, rhythm and blues, and mostly rock. The score does everything but deliver a typical show tune. The narrative is told as a lively concert and performance art piece rather than a two act musical with predictable traps and tropes. It's a tricky piece that hinges one hundred percent on your cast.

Rodrick Randall plays the narrator, and he sings and plays guitar while managing to tell his story in a charming and natural way. He has an amazing voice. Rodrick brings his musicality to his acting rather than the other way around. He connects with the material and makes it his own. David Allen III is equally compelling as "the youth", a performance that has us rooting for a middle class kid desperate to find out who he really is throughout this adventure. RaMina Mormortazavi is a revelation as the Mother. I didn't feel like she was acting for one single second, and she managed to make my heart beam and burst with the simplest of line deliveries. You could have made the show with these three lead actor performances alone, but surrounding them are an able chorus made up of incredibly rich characters who hit every beat out of the park as well. Estee Burks and James Phillips bring the girls to life, and their beauty extends from their appearance to their layered performances. Orlanders Jones and R. Cantrell Williams match the women in intensity and physical prowess. This is an amazingly well-cast ensemble that never misses a beat. They are a beautiful commanding group that can sing and act and make it look easy.

The entire production is impressive including the technical parts and musical elements. The band is spread out around the stage, and they are as tight as the actors when it comes to handling the material. Faith Fossett who plays keyboards and sings with the performers leads the musicians with grace and confidence. She and her band become integral parts of the show. James Hyatt, Sean Ramos, and Eric Williams round out one of the best accompanying groups I have seen in a musical production in some time. The abstracted set by Hiram Olvera feels like the inside of a guitar, and it morphs readily as we move from California, Amsterdam, and Berlin. Eric Dano's choreography is lively and well executed throughout.

In talking with the director before the show he mentioned the author Stew actually came to Houston a week ago and just sorta "dropped in" to catch a performance. They said the highest compliment was that he smiled and clapped appreciatively watching this cast roll through his work. Seems like the entire audience will do the same as the story and the music are easy to connect with and see a reflection of yourself somewhere in there. PASSING STRANGE is an old well worn story of self-discovery presented in a new fresh way. It's amazing to find a cast that can handle a rock musical this personal, but these guys do it and do it well. They make the war of cultural and self identity seem easier than it is, and they pull no punches as the play celebrates finding out what is real by getting a little freaky along the way.

PASSING STRANGE is currently slotted to play at the Obsidian Theater only through March 4th. The house is small, so move quickly to reserve the night you would like to attend. Tickets can be obtained through either www.obsidiantheater.org or www.sro-productions.com. Phone inquiries can be made at (832) 889-7837.

Cast photo is provided by Nicole Nesson.

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