Around the holidays, the biggest challenge for many theater companies is convincing audiences to care about yet another staging of "A Christmas Carol." This season in Atlanta, however, Actor's Express wants to stir up buzz about a less familiar property -- namely, a pedophile musical.
The Express has already started pushing "Love Jerry," a new tuner written and composed by Megan Gogerty that follows the tortured story of Jerry, who develops a sexual relationship with his nephew while trying to stay friends with the boy's father.
A delicate, often heart-wrenching piece of theater, the show, which preems Jan. 22 at the Express, never descends to shock-value tactics as it explores volatile terrain, and its lilting country songs give the characters emotionally vulnerable texture. Should it manage to attract a crowd, "Love Jerry" could very well leave them cheering.
If only audiences weren't such prudes, the tale, set to music and song, of a pedophile might leave 'em cheering.
But how do you convince anyone to come sing along with a child abuser?Beats me. I'm even more baffled trying to understand why Mark Blankenship feels some need to ask the question.
It's a double-edged question: Not only can untested musicals be notoriously hard to launch, especially when the writer is an unknown, but pedophilia (not to mention incest to boot) has proven anathema to ticket buyers.
Gee, whooda thunk it? Shrinkwrapped goes on to give us a psychoanalysts view of the underlying questions by which some seem to believe there is some justification for this level of human degradation. I'll give a knucklehead's view of what is at work here: their basket is packed two sandwiches short for a picnic, they are embarked on an elevator that does not go to the top, and the light is on but nobody's home. These idiots have, at best, one oar in the water.