When you attend a theater performance, you may expect a lengthy, solemn play with an intricate set and a traditional plot. The description alone of "Gorilla Man" as a rock musical indicates that this show is no ordinary play. The synopsis makes the play sound even more unconventional, a characteristic that the show embraces wholeheartedly.
Ben Lambert plays Billy, a 14-year-old boy who begins growing thick fur on the backs of his hands. His mother (Erin Tchoukaleff) finally reveals that his father is not an accountant, as previously believed, but rather the infamous Gorilla Man. Billy sets out on an introspective journey to find his father and learns a great deal about himself through the various colorful characters that he encounters.
As if this storyline isn't bizarre enough, imagine a piano player and a drummer that narrate the story and interact with the characters. In addition, every so often, the characters break into song - but their songs are not so much Broadway as they are AC/DC.
While the music is entertaining, the rock songs seem too spontaneous and unnatural at times. The stage with the piano player, drummer and back-up singers fills up half of the performing space and thus takes away from the rest of the set.
Also, the piano player and drummer's costumes and Kiss-like eye makeup are a little too distracting; however, their integration into the show is interesting to watch.
Many of the actors play multiple roles. Eric Hamel is the most convincing in his dual roles. He is absolutely perfect for both: first he is a truck driver, but soon, to the initial surprise and dubious reaction of the audience, he emerges as a politician in the next scene. Hamel flexibly becomes a completely different, distinct personage.
Eliza Lay portrays the fortune teller and Alice, one of the characters that Billy meets during his quest. Lay and Tchoukaleff also serve as back-up singers. Their flashy costumes are both versatile and extremely stylish.
Timothy J. Smith is probably the most sharply dressed Gorilla Man in existence. His Elvis-like style entertains and amuses.
In fact, the few characters in the show are so colorful that the rather bland Billy is overshadowed. His acting and singing are good enough and he fits his role, but so much else is going on in those short 70 minutes that the main character is almost tossed to the wayside. The end showcasing the Gorilla Man is undoubtedly the most energetic and interesting part of the show.
The set is rather bare, but props are used creatively. Two chairs side by side with flashlights as headlights on each side represent a truck, with one of the actors holding fuzzy dice in front of the passengers. This setup is fairly primitive, but it adds to the quirkiness of the production.
The use of strobe lights during certain scenes is very effective and entertaining, especially since the lit stage isn't much to look at. The lighting effect works well with the actors' movements.
Unfortunately, the premise of the show itself is so strange and obscure that the viewer may have trouble getting into the story. The plot is based on seemingly important themes about issues such as conformity and acceptance, yet one cannot help but focus on the strange idea of a Gorilla Man that dominates the surface of the show.
This play is entertaining and a little bewildering - but not much else. If you're looking for a traditional theatre experience with deep, developed themes, then this is not the show for you. If you just want to have a good time, then "Gorilla Man" will hold your attention.
