BWW Reviews: Chance Theater Stages Racy JERRY SPRINGER: THE OPERA

Though most people tend to avoid airing their "dirty laundry," so to speak, to the general public, there exists a segment of the population who brazenly do so with no regard for personal privacy-consequences be damned-for the sole purpose of being in front of the camera. As these guys get embroiled in televised catfights, humiliating shenanigans, and even some hair (weave)-pulling, there also exists an inherent, guilty pleasure within many of us to watch it all unravel for our own escapist needs.

It's not difficult to admit, then, that many of us do subconsciously slow down to look at a fender bender on the freeway. Many of us will likely eavesdrop when a couple in the next table are in the middle of a heated argument. And some of us-thanks to countless reality shows or web videos hilariously dissected by Daniel Tosh or Joel McHale-even feel better about ourselves by watching the comeuppance of people who do stupid things.

Every now and then, we find bliss experiencing a bit of schadenfreude-which is defined, as the residents of Avenue Q have so eloquently put it in song, as the feeling of happiness in the misfortune of others. As much as our culture has a tendency to prop up both celebrities and even everyday folks when they do well or do something extraordinary, we also tend to be just as fascinated-if not more-in watching their public scandals and failures, whether it be on online gossip sites, "reality" programs, or, yes, on daytime talk shows.

At one point in time, there was one particular television show that was a hit with those seeking this type of mindless, salacious entertainment. At the height of its popularity, The Jerry Springer Show cornered the market in shocking reveals, loud on-stage brawls, and outrageous fringe parades. The complete opposite of Oprah Winfrey's own eponymous, more life-enhancing talk show, Springer's talk show-slash-circus sideshow oozed nothing but controversy, allowing chaos to break out instead of calm, rational conversation. It became the place where shameless, oddball folks of a slightly lower educational and financial facility to come and air their grievances, speak their truths, and confront their adversaries-verbally and physically. By giving these aggressive, over-the-top people an open forum to dispel their drama, Springer's show became a fixture within the genre of "trainwreck" television.

So the idea that this low-brow talk show has somehow been immortalized into a musical theater piece-specifically an Opera, perhaps the most high-brow of the Arts-attracts nothing less than amusing curiosity. Long before felt puppets had on-stage sex and long before Mormons clashed with cussing Ugandans, there was Jerry Springer: THE OPERA, a joyously foul-mouthed stage musical that's as much of a hilarious guilty pleasure as its title suggests. The Chance Theater in Anaheim Hills is the latest American regional theater to take on this racy, over-the-top show. Due to popular demand-and, frankly, rightly so-this surreal musical's run has been extended through August 14.

First produced on the London stage in 2003, Jerry Springer: THE OPERA ignited instant controversy during its initial run and its subsequent UK tour, eventually winning four Oliviers including Best New Musical. Further complaints and protests were exacerbated when the musical aired on UK television and later during transplants to Las Vegas and New York (the Carnegie Hall debut starred Harvey Keitel as Jerry).

The shock and chatter are, of course, not a surprise, considering the show-a faithful, borderline reverent parody that also skewers its source material-is about as out there as it can get. The short list of the musical's eyebrow-raising traits include explicit language, the blasphemous depictions of Christian icons, a gender-bender, a stripper-wannabe, a diaper-wearing adult, and, of course, tap-dancing KKK members. This may sound like an odd mix, but, really, this sounds like a typical week's worth of episodes of Springer's talk show (which, if you can believe it, is still on the air in syndication).

The first half of the sung-through musical takes place in the tabloid talk show's brick wall-lined studio, where the warm-up guy, Jonathan (David Laffey) stirs the audience into a feverish uproar. On stage, Jerry's head of security turned mini-celebrity Steve Wilkos (David McCormick) is keeping a watchful eye of the fervor. Before long, that familiar chant of "Jerry! Jerry! Jerry!" fills the intimate space of the Chance Theater, where some theatergoers and actors are mixed together for an added air of authenticity and uncertainty.

Right from the start, there's already a palpable energy spinning wildly across the room that rarely ebbs. By the time Jerry (Warren Draper) himself makes an almost deified entrance, the excitement is at a piercing level. The ensemble produces stirring (albeit loud) operatic harmonies-only, they're laced with enough cuss words to make even the surliest of sailors blush. To butcher a familiar sci-fi phrase: resistance to laughter... is futile.

As the musical unfolds, Jerry hastily fires an irate Jonathan for apparent incompetence. Excitement resumes when the studio audience learns that today's particular show topic is a recurring theme in most of the talk show's episodes: people with hidden secrets. It soon dawns on us that this feels like a mashup of several typical episodes, but here is given an all-inclusive theme in order to feature as many cray-cray guests as possible.

The show is bursting at the seams with exaggeratedly funny bits. In between segments, the musical even breaks for some hilariously integrated "commercials" shown on the monitors, touting some demographically-appropriate products for the typical Springer home viewer. We also see Jerry intermittently consult with his "inner Valkyrie"-a winking nod to its Operatic tendencies.

Much like the Jerry we see on the talk show, this Jerry just nonchalantly stands back and let the fireworks explode all around him. He sums up his talk show's raison d'etre pretty succinctly: "I don't solve problems, I just televise them!" thereby absolving himself of any kind of need to fix his guests. Conflict... now there's a ratings grabber!

Up first is Dwight (Jovani McCleary) who is cheating on girlfriend Peaches (Erika C. Miller) with Zandra (Laura M. Hathaway)... and sassy transsexual Tremont (Matthew Ballestero). Next, Montel (JarEd Pugh) confesses to his lover Andrea (Katie Kitani) that he like to dress up like a baby (complete with diaper and pacifier), and that he's found a kindred spirit in Baby Jane (Miller, again), who also happens to like dressing like a toddler.

Finally, there's Shawntel (Jessie Withers) who admits to her hick-trash husband Chucky (Kyle Cooper) that she longs to become a stripper, even going as far as providing a live demo on a pole, which angers Shawntel's very surprised mother, Irene (Hathaway, again). But then, it also turns out-thanks to some secretly-acquired Jerry-Cam footage-that Chucky is not only a frequent customer of his town's local strip clubs, but is also an active member of the violently racist Ku Klux Klan. In a surreal but funny moment that apparently requires no sense of logic, members of Chucky's KKK sect make a surprise appearance that turns the studio into absolute mayhem. Disgruntled ex-employee Jonathan reemerges with a pistol for Montel, who in the midst of the pandemonium accidentally shoots Jerry.

the show's even more surreal second half takes an unexpected, outrageously avant-garde turn-perhaps yet another acknowledgment of the show's ties to legit Opera. In it, we find an ailing Jerry pleading for his life in purgatory with Satan, who alarmingly resembles Jonathan the fired ex-warm-up guy. To save himself, Jerry reluctantly agrees to host a Special Edition of his show in Hell, where Satan seeks to get an apology from the Man Upstairs for banishing him away from Heaven. Guests that parade into the fiery studio include Jesus (who resembles diaper-loving Montel), Adam and Eve (who resemble trailer trash couple Chucky and Shawntel), and Jesus' mother Mary (who resembles Irene). For a lack of a better description... all Hell breaks loose.

Unabashedly giddy in its cavalcade of trash-tastic, bottom-dwelling behavior without a hint of irony or the slightest glint of remorse, Chance Theater's production of Jerry Springer: THE OPERA is just the kind of guilty pleasure stage presentation that straddles the fine line between wickedly outrageous and charmingly low-brow, but is handled with a great amount of wit. From the start, the show captures one of pop culture's most secretly-watched phenomenons with a tuneful bacchanal fit for the show itself. I often found myself-along with many audience members surrounding me-caught in rollicking fits of laughter, while simultaneously shaking my head in disbelief at the sheer audacity of this musical's cleverly spun use of raunchy lyrics, written by Stewart Lee and Richard Thomas.

Along with its outlandish guests that include everything from a stripper, to a transsexual, and even a random Very Special Appearance by tap dancing members of the KKK, this "Opera" revels in its naughtiness much like a little kid with a verboten stash of extra Halloween candy. I can certainly understand why the show-both the original production and Chance Theater's production-provoked a lot of passionate protests. It's not a show for the easily offended or for those who can't take jokes at the unfortunate expense of an entire segment of belief. But to summarily reject the show as just another excuse to celebrate depravity is an unfounded, closed-minded dismissal. Yes, the cussing and the bad behavior come early and repetitively. But those who appreciate a well-thought-out parody will find it absolutely enjoyable. If you walk in ready to accept that the show is a musicalized lampooning of the extreme excess of the TV show it's based on, then you'll have a really, really, good time.

Under the direction of Trevor Biship, the show zips along with great comedic timing, and the staging makes great use of the Chance Theater's store-front black box space, enveloping the "studio audience" with the look and feel of Jerry's famous chatfest. Again, the Chance Theater proves to be the most technologically-advanced of the smaller, intimate theaters with its great use of projection screens and LED panels.

Though it sort of stalls a bit during the beginning of the second half (where the cast is, ironically enough, in purgatory), the musical never really loses its ability to throw out a zinger. Kelly Todd's impressive choreography is also worth noting, particularly the show's rousing finale that finds almost the entire cast tap-dancing in beautiful unison.

And here's something that really surprised me about the show: the presence of cuss words wrapped around impressively arranged harmonies. The fact that such wretched, foul language is delivered via some incredibly strong, expressive voices makes this show all the more intriguing. the show's principal actors are all talented, wonderfully-voiced performers, but two actors really stood out amongst the ensemble: There's Ballestero-who plays transsexual Tremont-whose strong high-pitched tenor and confident dance moves matched his character's own personality prowess; and Withers-as stripper-to-be Shawntel-whose amazing vocal work on perhaps the show's most well-known tune "I Just Wanna F***ing Dance" is a show-stopping highlight. 

As for Jerry himself, lead actor Draper-the sole member of the company that does not sing at all in the entire show-is authentically deadpan, mirroring the "aw-shucks, I'm just a passive bystander" demeanor his real-life counterpart often displays... despite the fact that he does not look at all like the real life Jerry. But, every time Draper interjects with a sentence or two, he elicits much chuckling as he delivers Jerry's bon mots with an almost zen-like calmness amidst the chaos. Together, when the entire ensemble sings, it's quite a joy to take in. The cast even sings every "commercial break" which play out as actual video segments that pipe into the show's side monitors and the main projection screen in the stage's back wall. Seriously? Brilliant.

Just like the TV program that inspired it, Jerry Springer: THE OPERA may, on the surface, feel like entertainment that simply caters to our deepest id, piquing our basest desires in musical comedy form. To which, I ask, is there anything wrong with that? I see nothing wrong with having a little harmless, albeit raunchy fun, and laughing your ass off in the most guttural way. While, still, much of it is head-scratchingly surreal, you'll be too busy laughing out loud to really give its overall significance a, well... a "final thought" (as Jerry would put it). Despite angry emails, phone calls and letters-and a sad, paltry showing of protesters outside-Chance Theater's bravery in mounting this unique, one-of-a-kind theater piece all the more makes it deserving of your own judgment. Oh, and look! That dude's wearing nothing but a diaper!

Follow this reviewer on Twitter: @cre8ivemlq

Photos from Jerry Springer: THE OPERA by The Chance Theater. From top to bottom: Jerry Springer (Warren Draper) looks on as his hairless head of security Steve Wilkos (David McCormick) has his back; Dwight (Jovani McCleary) considers a proposal from Tremont (Matthew Ballestero); a riot erupts in the studio; a rousing Klan dance number breaks out.

-----

Due to overwhelming ticket demand, Chance Theater's Southern California Premiere Production of Jerry Springer: THE OPERA has been extended through Sunday, August 14, 2011. Originally set to close August 7, the extension adds an additional six performances to the run: Thursday, August 11 at 8 p.m.; Friday, August 12 at 8 p.m.; Saturday, August 13 at 3 and 8 p.m.; and Sunday, August 14 at 2 and 7 p.m.

Jerry Springer: THE OPERA contains graphic language and adult situations. The show is recommended for mature audiences.

Tickets are priced from $30 to $45 with additional discounts to Seniors and College Students.

The Chance Theater is located at 5552 E. La Palma Ave., Anaheim Hills, CA 92807.

For more information or to purchase tickets, call (714) 777-3033 or visit www.chancetheater.com.

To post a comment, you must register and login.