A brief, pictorial history.
Los Angeles, California
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Stage Manager Jeramy Peay poses in front of Melrose Ave's Zephyr Theatre.
The offer came from Gary Guidinger and Linda Toliver at the Zephyr Theatre in West Hollywood where The Last Session had its original workshop back in 1996. The offer was for the show to play on their dark nights. There wouldn't be any money for publicity or promotion, but The Zephyr has a great space, comfortable seats and an excellent reputation for quality work. It also had more seats and it meant people would have to find the little show again on their own.
Also, they quickly went into EMG studios in North Hollywood and recorded a limited release CD. Only 500 of these were pressed -- each one signed and numbered by the authors. Not intended to be a definitive document, it was used it to raise money to support the production. It contained several songs that have been subsequently cut -- and small bits of dialogue that have been rewritten.They learned a lot from making this recording. Namely, that comedy should be recorded in front of a live audience. No longer available except through collectors, the original disc looked like this:
The now rare original cast recording with the songs
"Us Catholics" (lyrics by Bev Sykes) and "A Simple Faith."After setting the opening date for October, they were dismayed to learn that it was also the opening of a citywide theatre festival called Edgefest. None of the critics were available. However, upon hearing that the authors of The Last Session had a new show, several changed their plans and came the opening weekend. Each one was positive.
Along with the LA Times rave printed on page one of this history, there was not a single bad review. Also, new audiences were now beginning to find the show and soon they were playing to full houses. The 12 performance run was extended to three months. This was the last flyer:
BACKSTAGE WEST - CRITICS‘ CHOICE (October 23, 2002):Tongue-in-cheek humor co-exists alongside grandiose themes of strife and divine intervention in this idiosyncratic love story and because these talented writer/performers (are doin' what comes so naturally to them, the show bristles with the ring of truth. Just as The Last Session jump-started the genre of intimate pop musicals, this new show presents a marvelously fresh approach to the autobiographical musical. Having an openly gay married couple headline a show of this type is a mildly revolutionary event. The two performers candidly reveal the details of their 17-year love affair and mutual life lessons. Schalchlin's splendid new score is strongly reminiscent of Session. His trademark style offers an intoxicating blend of irony, poignancy, and folk-song sensibility. Ethel Merman provides an apt metaphor in this captivating musical romp, superbly directed by Anthony Barnao, that's too heartfelt and honest to be camp. This highly personal vehicle showcases two warm and witty veteran showmen who have aged like fine wine. Who could ask for anything more?
VARIETY (October 15, 2002):
With composer Schalchlin holding forth from an electronic keyboard and Brochu roaming flamboyantly about a bare stage, the pair relate the deceptively simple, endearing tale of two deeply religious gay men who found their true calling in life while trying to come to terms with their complicated relationship with God. Aided by a delightful 13-number original score, director Anthony Barnao intuitively guides the two through the humor-filled interactions of talented artists who have been life partners for over 17 years. Their ability to fluidly weave individual tales in and around one another creates a lighthearted energy that sustains itself even when they are relating the darker moments of their relationship. Like all good musicals there’s a happy ending leading to a maturing of their beliefs and the recognition that they had found the essence of God in each other."
Will Call Magazine (December 10, 2002)
This enormously entertaining production follows two men through some very joyous times, some riotous humor and touches on the depths of their personal hell. These two men prove that, at least in their lives, the love of entertainment and entertaining people and their love for each other has a lot to do with God. There is nothing typical about this show. It is filled with heart and soul and raucous laughter. The dozen or so new, marvelous songs run the gamut of emotions from hilarity to sentimentality. Steve's voice is as smooth as butter, so mellow and so easy to listen to.Jim is a dazzling showman from the word go. He can command an audience with word and song. The Big Voice is a wonderful evening in the theatre.
ACCESSIBLY LIVE:
This play, directed by Anthony Barnao, is very simple. There are
no lavish costumes, no set backdrops, no nothing! It's just Steve,
Jim, and a keyboard, providing the songs that tell about where they
came from, where they are, and where they will be going. The songs
are catchy and lively.Best of all, this show with its simplicity, proves that 'less is
more'. One doesn't need thirty costume changes, a cast of thousands,
and a forty piece orchestra to pull off a musical. Just have good
talent, great songs, and a lot of faith!THE BIG VOICE is just that! It does have its faith and spirit,
and is a real crowd pleaser.
The following photos were taken during one of the performances.
Steve stops wearing the eyepatch
because the Grave's has gone into remission.
"That's the voice of God?"[Link to Los Angeles reviews.]
By the end of the run, once again, the house was sold out and Jim & Steve finished on a high. Exhausted, but definitely assured that this peculiar piece of theatre had a future. For the first time they felt the show could actually play New York, but first they wanted to take it on the road. As good as it was, they believed they could make it even better. But to do that, they needed more audiences. So, they called an old friend...
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