Thankfully, not all former Mouseketeers are eating up the celebrity crazed spotlight with marriages, high profile relationships and babies. Yes, babies. Enter Lindsey Alley, a six year veteran of the All New Mickey Mouse Club and one of the few Mouseketeers who is continuing to keep her eye on the ball and a good head on her shoulders – either with or without the mouse ears.
Look Ma…No Ears is a wonderful and endearing one man musical memoir of Lindsey Alley's life which depicts her journey as she searches for her big break along the Great White Way. Although she may not be the most notable of the former Mouseketeers, Alley's performance showcases her musical talent, acting style and comedic wit as she engages the audience and proves that she is a force to be reckoned with.
As the play opens, the audience can immediately tell that Alley has a great sense of humor and has no problem poking fun at herself. From an opening "infomercial-like" visual requesting donations to "MouskAnonymous" to Alley's opening song where no pop culture taboo is left untouched, the audience realizes within five minutes from the curtain's rise that the show will be full of good acting and amazing singing – a tough combination to get from any other former Mouseketeer on the market. Alley made a superb choice by collaborating with music director Bob Stein. Stein, who wrote both the music and lyrics to the entire Look Ma…No Ears score, was able to produce quick witted lyrics and rhymes for songs that showcase Alley's powerful voice. In the opening number, Alley sings about how "normal" is no longer marketable. In the lyrics, she ponders what she would do to get a gig. "…If I was hooked on crack/or stole shoes from Saks….,"are two options she considers while simultaneously poking fun of the Kate Moss's and Winona Ryder's of the world. Stein's work also pays tribute to other Broadway standards with substituted lyrics aimed to highlight Alley's struggle at getting a paying acting job. When complaining about her agents, "Legions of Scum" replaces RENT's "Seasons of Love." Fiddler on the Roof lyrics change as well when Alley sings "If I Weren't a Gentile" to backup her theory about how "normal" just doesn't sell.
The script, written by Alley and Stephen Winer, also deserves to be noted as it enabled Alley to showcase more than just her singing skills. For example, Alley's mother is effectively brought into the plot as an audio role. This additional reoccurring character is an effective tactic to further show how Alley is no different from any other actor clinging to a Broadway dream. Her mother constantly calls to give Alley tips on how to charm producers such as sending Andrew Lloyd Weber a box of
Look Ma…No Ears ends where Alley's life currently stands. Another show, another audition another chance at getting her big break and another lesson learned along the way there. It's easy for the audience to wonder if the whole performance of Look Ma…No Ears is really just one 75 minute long audition. While I believe that is not Alley's goal, it is however what her show unintentionally turns out to be. In actuality, Alley is really just telling her story and giving outsiders the chance to peak in and see what she's doing. However, this quick glimpse into her life shows with pristine clarity that Alley is a hard worker with a passion about Broadway who is not going to let a couple of knocks take her down. She's full of the good stuff that success stories are made of. She acknowledges through humor and song her trials of being a struggling actress and her forever legacy of being one of the few Mouseketeers still working to achieve her day in the sun. Alley clearly understands her childhood offers her no guarantee in the door, but is determined to get in just the same. If you didn't know Alley back in the days when wearing mouse ears was cool, you'll know her soon. With or without mouse ears, the girl can sing, the girl can dance and the girl can act – you'll see her soon; she's not going away just yet.
Look Ma…No Ears is currently playing at the Laurie Beechman Theatre in the West Bank Café located at 407 West 42nd Street between 9th and 10th Avenues. Performance schedule is Tuesdays at 7pm, Saturdays at 8pm and Sundays at 3pm. Please call 212-279-4200 for tickets.
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