There’s a (nearly) hidden, gay-themed gem playing this Pride season in Greenwich Village. A musical, seven-years in the making, that is rousing, disturbing and, ultimately, empowering.
Beau the Musical, which is an unfortunate title because it tells the audience nothing about the show, is set in Nashville and centers on songwriter Ace Baker (Matt Rodin, a bonafide star). The production bounces back and forth in time from Ace’s pre-teen angst to his coming-of-age concert catharsis in 2013.
Adult Ace is haunted by his early life when he is both bullied and then, kissed, by the same boy, Ferris (Seth Eliser, at the performance I attended), which rightly confuses our young protagonist. Ace lives with his too-tough-as-nails mama, the aptly named Raven (belter Amelia Cormack). Mama is dating a super nerd (Matt Wolpe, having a blast) who annoyingly refers to Ace as ‘Fella.’
12-year-old Ace accidentally discovers he has a grandfather, Beau (Chris Blisset), who Raven has not seen in over a decade. Ace wants to get to know Beau so he boards a Greyhound to Memphis and the two slowly bond, especially after Pop-Pop Beau teaches Ace how to play guitar. That is life changing for the youngin.
The non-linear story continues with Ace and Ferris kissing and dry humping their way through middle school. But once they start high school, Ferris dumps Ace for Karina, a homophobic mean girl who leads the school bullies in picking on Ace and hurling gay slurs at him, after she discovers a song Ace wrote for Ferris. A wrecked Ace confides in Beau, who is very accepting.
Of course, Beau has his own secrets that are also revealed throughout the show.
The concept, book and lyrics for Beau are by Douglas Lyons. The infectious country-rock score is by Ethan D. Pakchar & Lyons. Ace’s songs deftly uncover his inner pain and longing.
I appreciated Lyons’s non-linear storytelling sometimes blending simultaneous dialogue from different time periods. I did feel that there was a terrific reveal opportunity that was missed and could have further bonded Ace and Beau. In addition, Raven is so obstinate about remaining completely estranged from her father, but her actions late in the play (which I will not give away) contradict that inflexibility.
Director-choreographer Josh Rhodes expertly uses the space at 154 Christopher Street and seamlessly weaves the cast of eight actor/musicians in and out of their respective scenes and back to jamming.
Rodin is the kind of actor/singer fireball who would be right at home as a Broadway leading man. He manages the near-impossible feat of convincingly portraying Ace at various ages, beginning at 12, and conveying his plethora of feelings and emotions, through dialogue, his facial expression, body language as well as in song—never overplaying any of it. It’s a triumphant turn. Check out my video chat with Matt Rodin HERE.
And a quick shout out to the terrific Miyuki Miyagi who takes the throwaway role of Ace’s bestie Daphney and showers her with nuance. Oh, and Miyagi is aces on the violin as well.
Queer people who live in big cities, like New York, sometimes find it difficult to fathom that there is still so much hate, intolerance and violent attitudes towards LGBTQ people today. But that is the sad reality, especially in rural and suburban towns where political and religious leaders have brainwashed their community to scapegoat gays. Shows like Beau the Musical are essential in combatting hate by telling compassionate stories of introspection, identity and self-acceptance.
Beau, the Musical has been extended through August 3, 2025 at 154 Christopher Street, NYC.
For tickets and more info visit https://www.ootbtheatrics.com/beau-the-musical
