Review: MIDNIGHT AT THE NEVER GET at Diversion

Welcome to “Midnight at the Never Get,” where life (and death) are a cabaret. This intimate show offers a wonderful musical experience and an entertaining and emotional look at how love, social justice, ambition, and some torch songs can create a life—but can they create a happily ever after? “Midnight at the Never Get is playing at the Diversionary Theatre through November 24th.

Trevor (Bryan Banville)  is a singer and a gregarious extrovert who finds his match in ambitious, aspiring, and introverted songwriter Arthur (Cody Bianchi).  Arthur writes Great American Songbook-style songs, witty, gay, filled with personality and perfect for Trevor to sing.  The problem is that it is 1965, their relationship is illegal, and the Never Get is a secret gay cabaret club (they prefer the term “members only”) run by the mob;  it’s also where Trevor can sing Arthur’s songs and express their true selves. 

The play opens with Trevor striking a pose before launching into a song by his pianist, Arthur. Quickly, we learn that the cozy and polished cabaret set up of the stage, piano, and band is an “enhanced” version of reality, as this is all coming from Trevor’s memories. Trevor, who has passed away, explains that everyone is offered a place to stay after death before moving on to the great beyond.  It can be one perfect memory to stay in, and Trevor chose this time and place - midnight at the Never Get.

Everything is close to but not quite perfect here, as Trevor is waiting for Arthur, a man who could so poignantly express himself in the song but left Trevor with many unanswered questions and doubts about their life together. This Arthur we see on stage is a character created from Trevor’s memory: “He’s just me. But I use him to remember.”

As he waits, Trevor performs his cabaret act while recounting the details of their romance, the struggle to find places to perform, and compromising on Arthur’s songs by changing lyrics from “he” to “she” to appease audiences or potential music executives. They start on the same page as starry-eyed lovers who prefer romance to reality in their art, but soon, the world starts changing, and so does their relationship.

Directed by Stephen Brotebeck, the show is charming and playful but also nuanced as the story builds and more layers are revealed. The pacing of the story and the subtle but steady increase of the emotional stakes allow these performances and the story to truly shine.

Banville, as Trevor, is truly fantastic. He starts as a high-energy, campy comedy cabaret singer and then takes the audience on a journey as the decisions and emotions become increasingly important. What's even more impressive is how smoothly the layers are shed, showing Trevor’s underlying vulnerability and pain that have kept him in this polished purgatory prison, waiting for Arthur in hopes of getting some answers.

Bianchi’s Arthur makes the most of a tricky role since, as a figment of Trevor’s memory, he is a bit of a cipher.  He can only show so much as this version of Arthur but also has the ability to lash out with hurtful things as Trevor’s imagination runs away from him. Bianchi also plays the piano beautifully, and along with the wonderful live band, which includes Saul Gonzalez on trumpet, Amy Kalal on reeds, Robert Johnson on bass, and Rovai Hernandez on drums, the music is excellent.

The songs by Mark Sonnenblick who wrote the book, lyrics, and music, and co-concieved this show with Sam Nolen, the songs have a wonderful playfulness, sentimentality, and fluidity that fit perfectly into this era.  From ‘My Boy in Blue,” an upbeat comedy song that has Trevor singing about the danger of NYPD raids, to the more subtle “When It’s Spring Again,” the show’s entire song list is very atmospheric and enjoyable.

The scenic design by Yi-Chien Lee fits the space perfectly and is showcased well with lighting design by Nayeli Bailey. Claire Peterson's costume design is fitting for the times and the characters, while Janine Rose's sound design allows all the music to blend together beautifully.

Trevor may have eternity to wait for Arthur, but the audience can only experience it through November 24th.  

How To Get Tickets

“Midnight at the Never Get” is playing at the Diversionary Theatre through November 24th.  For ticket and showtime information, go to www.diversionary.org.

Photo Credit: Talon Reed Cooper

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