A brief, pictorial history.
Rochester, New York
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Rochester NY's Downstairs Cabaret Theatre.
"Hey, Chris!""Yes?"
"We have a new show and we're looking for a place to play."
"Yes. Bring it here."
"Do you want to see a script?"
"No. I trust you guys. How soon can you come?"
That was the phone call between Jim & Steve, and Chris Kawolsky at Downstairs Cabaret Theatre in Rochester NY, scene of one of The Last Session's most successful hit runs (featuring Amy Coleman from the original New York cast and Steve playing Gideon).
The "pre-NY" tour of The Big Voice began in the middle of winter right up near Niagara Falls during the biggest snowfall in 25 years. But inside the theatre, there was a warm and electric connection between audiences and performers.
Jim in front of the theatre.ROCHESTER DEMOCRAT AND CHRONICLE (February 11, 2003):Some people go searching and find God. Some go searching and find Ethel Merman. And some, namely Steve Schalchlin and Jim Brochu, have the talent and inspiration to combine those searches into a funny and affecting musical. The Big Voice: God or Merman? is a mesmerizing blend of nostalgia, wit, one-liners, sarcasm, tragedy and silliness plus a single costume change that guarantees laughs. When they sing together, each voice seems to balance out the other’s, just as their personalities do in their relationship. That relationship is propelled by a series of coincidences and tested by tragedy. These enthusiastic performers transform suffering and a desire to worship, be it God or Ethel, into great stories and big laughter.
The new poster for Rochester.
Posing on the tiny DCT stage.It was the perfect place to continue working on the show. The audiences in Rochester were exuberant, the reviews praised both the show and the performers. Jim and Steve were able to make subtle changes in the script and lyrics, testing them in front of the live audiences.
Rochester CITY (alternative press, February 11, 2003):The Big Voice: God or Merman? by Steve Schalchlin and Jim Brochu is completely original and utterly rewarding. A musical about two totally opposite, deeply religious, gay men falling in love, surviving AIDS and finding success in showbiz could be camp or cliché. But we are truly indebted to Downstairs Cabaret Theatre for producing the East Coast premiere of this hilarious, gut-wrenching, startlingly honest show. With its creators acting and singing together onstage, The Big Voice presents their story through writer Brochu's witty script and composer/lyricist Schalchlin's winsome songs. Their comic, romantic and musical stories continue in that L'il Abner vs. Noel Coward vein and the audience's pleasure in this happy ending is palpable at the rousing finale. I can't overemphasize what value you'll miss if you don't see this show.
TALKIN’ BROADWAY ROCHESTER (February 25, 2003):
The Big Voice is absolutely tremendous - both hilariously funny and very dramatic. Very rarely does a theatrical experience capture your inner being and transport you somewhere else. I was just floored. Schalchlin and Brochu have a magical gift of reaching into people's souls. You MUST go see this show.
NOMINATIONS/AWARDS Back home in Los Angeles, though, an interesting turn of events was happening. Jim & Steve finished their initial run at Rochester only to find out that the Los Angeles Drama Critics Circle had nominated "The Big Voice: God or Merman?" for BEST MUSICAL SCORE.Considering the fact that TBV had run in Los Angeles under the media radar without a big producer pushing it -- and considering the fact that the entire score is played on one keyboard with only two singers -- the authors were taken completely by surprise by the nomination. Eagerly, they attended the ceremony but were not remotely expecting to win. When the presenter announced the winner as "The Big Voice: God or Merman?," they were stunned and elated.
Jim Brochu accepts the award.Not much later, they were also awarded the PFLAG-LA Oscar Wilde Award. Then they were invited back to Rochester for an extended run.
During the this repeat run at Rochester, the show was scouted out by Kenn McLaughlin, managing director for Houston's prestigious Stages Theatre. Stages was looking for a show they could quickly plug into a spot that had opened up in their schedule, a benefit run for Houston's PFLAG fund for college scholarships for GLBT kids who needed help getting through school. They needed a show that not only was entertaining, but carried the same kind of heart and soul that one expects from a benefit for students. A NEW BOOKING
Kenn booked Big Voice at intermission.
The Houston production would answer another question they had in their minds about The Big Voice. It had played well in Los Angeles and it had played well in upstate New York.
But would it play in the south?
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