Here & Their; A Non Binary Musical
It’s been a hot minute since I sat down to write a review, but every once in a while it’s good to brush off the old skills, and with a coffee by my side, just write something to honor the Arts. Today, I am doing so in order to draw your attention to a new musical: Here & Their; a Non-Binary Musical, which just opened at 12th Avenue Arts on Capitol Hill (Seattle).
With book by Jasmine Joshua (they/them), story by Jasmine Joshua and Alexei Cifrese, and music & lyrics by Heather Ragusa (she/her), Here & Their is a heartfelt romp of self-discovery, inter-generational connection & tension, and the power of naming one’s truth. It is equal parts “very special episode” and “musical episode” of what feels like a sit-com set in middle America. It is an unapologetically queer, hella extra, passion project that has been years in the making.
Here & Their follows the story of Sam O’Malley, “100% female human woman”, a third generation bar owner from Butte, Montana, who on the eve of their wedding, to David, has a revelation about their gender identity, and in a moment of “gay panic” jets off to L.A. to find their long lost aunt, “Meredith”, aka Vikki Vektor, a lesbian punk rock icon of the 80s, who is going through her own journey of being rediscovered. Eventually, like any good sit-com episode, there will be a crisis, return, a reconciliation, and the establishment of a new normal.
There is a lot of story packed into this two-act musical, but the narrative flows very well! Over all, I enjoyed going on this journey with Sam, Vikki, and their families, both blood and chosen, a great deal. I will admit that the story has an intended audience, and if you have not gone through a queer awakening of your own, the journey may seem a little jarring or sudden at times. But queer awakenings often have flash points, revelatory moments that make all the pieces suddenly, and sometimes overwhelmingly, fall into place. I can point to at least one such moment in my own life, and in Here & Their we get to experience Sam have their own such moment. It’s sudden, it's terrifying, confusing, and wondrous all at the same time. If you can connect with that feeling, then you are definitely in for a fun ride.
Heather Ragusa’s music and lyrics are particularly fun, and with music direction by Jordyn Day Palmer (she/her), the band and cast nails the delivery. Exploring various genres: country, choral, punk rock, and pop, there was a risk of feeling confused, but while a couple of the songs did feel like they came out a little left of field, for the most part the music and the book support one another very well. Even in those few cases of narrative erraticism, the excellent performances, by cast and band alike more than made up for it!
The two leads: Chloe Payne (he/they) as Sam, and Meg McLynn (she/her) as Vikki Vektor, were particularly impressive, showcasing vocal power, control, and range that at times truly stunned. Coupled with some really good acting moments, and generally strong stage presence, Chloe and Meg each handled some really difficult songs, including a couple of really fun duets, with skill and heart.
Meg McLynn’s amazing vocals, and treatment of Vikki Vektor, the bad girl energy, quintessentially Gen X attitude toward the “yutes”, especially in her moments with eager young agent Haylee played by Shana Emile (she/her), the unearthing of past pain, and the dynamic chemistry shared with Selena Whitaker-Paquiet (she/her), who plays Tommy, Vikki’s activist wife and partner of 30 years, was all beautifully handled. Vikki is a complex character, and the relationship between her and Tommy is tempestuous, passionate, a little messed up, and beautiful. I would have liked to see MORE of Vikki and Tommy’s story, and if Jasmine and Heather ever decide to write another musical, an exploration of the 80s queer music scene would be a good choice. (Maybe we’ll find out that Vikki Vektor shares a similar love math with her nibling).
Chloe Payne tackled the complex and anxiety ridden story of Sam O’Malley with impressive skill. From the very beginning Sam struggles to fit in. They feel awkward in social situations, and while they can be confident in particular moments, it is clear that they are not quite comfortable in their own skin. Sam is a complex bundle of nerves, and though not explicitly stated to be neurodivergent, it is clear that they don't quite think the same way as their cousin Meghan, mother, or rest of their family. Only David, whose own implied neurodivergence seems to harmonize with Sam’s, really provides a place of comfort. Of course, this is strained with the revelation of Sam’s non-binary gender identity, and sudden whirlwind journey of self-discovery. Chloe handles a LOT: implied neurodivergence, anti-Semitic microaggressions (Sam and Sarah are Jewish in a country town), anxiety around change, loss and grief, gender dysphoria, revelation, and euphoria and he does so really well. Vocally their range was equally impressive and he handled ballads, and pop/rock belting with aplomb.
I also want to give a solid shout out to the two supporting trios.
Sam’s Family in Butte: Sam’s cousin Meghan, played by Megan Huynh (she/her), fiance David, played by James Lee (he/they), and mother Sarah, played by Ellen Dessler Smith (she/her), all navigated a difficult arc. (Spoilers!) With Sam suddenly running off, leaving David at the altar, and the whole family confused, the trio must handle the upending of their status quo, their worry for Sam, their own hurt and confusion, and the establishment of a new normal… one that challenges and expands their own world views. It is a difficult journey all packed into a tight timeline, but Megan, James, and Ellen made it work! All three had excellent acting moments, with special mention of James’ handling of David's realization and guilt of the unintentional hurt he had caused to Sam. The story of the family is perhaps the most idealized and hopeful arc in the show, from confusion and hurt to acceptance in a very short period of time. Most queer folks expect the confusion, and strife that occurs on coming out, but fewer get to experience the positive coming around to acceptance. If Jasmine Joshua, also the director, didn’t have such a keen understanding of sit-com narrative structure, this story would have felt rushed or unsupported, but it works. Kudos to Jasmine’s narrative editing & direction, and to the acting skills of this trio. The fact that all three of these actors are power house vocalists, with a talent for harmonizing, also really helped!
Pink Triangle Crew / Internet People: When Sam arrives in L.A. hoping to find their long lost aunt, they go to The Pink Triangle, the gay bar owned by Tommy and Vikki. Here they meet a trio of delightful queerdos who immediately adopt the emerging gay into their chosen family, and set out to help Sam find themself. The actors: Juniper Johns (they/them), Marnie Wingett (she/her), and Rylynn Davis (they/she) are an absolute delight, delivering witty dialogue, and some of the most fun, and whimsical musical numbers in the show, as they introduce Sam to the beautiful, weird, and diverse world of queer identities. Juniper’s effervescence, swoon worth belt, and talent for patter pieces, Marnie’s excellent comedic timing, character work, and stunning vocal range, and Rylynn’s mastery of the dry, slightly sardonic “straight man” energy and timing, meshed really well together. This trio also doubles as a group of “Internet People”, personifications of the internet that brings a bit of magical realism into the world of Here & Their. These moments flirt with weirdness, and could have felt a bit off the wall, but are well executed, and funny. Shout out in this case to costume designer, Krista Lofgren (she/her), whose choice of bold, mono-chromatic color scheming set the “Internet People” apart from the more naturalistic ensemble, and emphasized the magical realism of this theatrical device.
The remaining ensemble work their butts off in this show, creating a world around Sam and the others that balances on the edge of chaos, and is always a bit extra. The ensemble’s musical talents are clear, and you can definitely tell that each and every one of them is putting their whole heart and chest into it. The Ensemble navigates the complex choreography shaped by Elizabeth Posluns (she/her) and Laura McFarlane (she/her), and innovative scenic designs of Robin Macartney (she/her), with passion that will only get better as the cast settles their rhythm over the course of this run. Likewise, shout out to the stage crew who handled some pretty complex scenic changes!
Here & Their; a Non-Binary Musical tells a story that is very personal. It is a story that will resonate deeply with many who see it, and for others may provide language and context to better see and embrace emerging queers in their own life. Sam O’Malley always *knew* they were different, but they had no language for what they felt, and when they suddenly found the words… Well, sometimes it just takes finding the right variable to “solve for Y”. After that the equation just makes sense. Sometimes it just takes finding likeminded others to realize the truth, and to borrow a phrase from my past life, the “truth will set you free”. That sudden freedom can be deeply confusing and scary… but once you get past that initial upset, once the wide, weird, and beautiful world that has suddenly opened up before you becomes a little more familiar, then, and only then, can you really start to live.
If you have a chance, go see Here & Their. It is playing at 12th Avenue Arts (Capitol Hill, Seattle) through Saturday, June 28th (linked below). Support this show, the artist on that stage, and the creators who have built this from the ground up over the past seven years: Jasmine Joshua, Heather Ragusa, Alexei Cifrese. They did good y’all, and they deserve your support. Happy Pride!
