LOS ANGELES REVIEWS
OF THE BIG VOICE: GOD OR MERMAN?Los Angeles Times (November 1, 2002)
Two indelible moments typify the considerable humor and impact of "The Big Voice: God or Merman?," Steve Schalchlin and Jim Brochu's autobiographical musical at the Zephyr Theatre. The first occurs mid-Act I, which charts a passage through the channels of religion and musical theater from the opening number, "Why?," onward. Arkansas Baptist Schalchlin grows up pulled between the ministry and songwriting; Brooklyn Catholic Brochu between the priesthood and theater queendom. This leads to the first touchstone, when Brochu's family friend Mr. Zimmerman takes him to see "Gypsy," starring daughter Ethel. The subsequent reverent epiphany -- "It was like Church, but with energy!" -- is priceless. The other signpost arrives early in Act 2. Having ended Act I waxing romantic in the lovely ballad "Near You," Schalchlin casually changes direction. His fathomless eyes belying his smiling voice, Schalchlin announces, "I had IT," conveying an entire universe in a single syllable. Under Anthony Barnao's elegant direction, the attunement of these life partners is effortless, with Brochu an acerbic hambone and Schalchlin an affecting morph of Keith Carradine and Mr. Rogers. The lingering afterglow suggests that the biggest voice in question belongs to neither God nor Merman, but to both performers and their witty, inspiring confessional.
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.VARIETY (October 15, 2002)
Collaborators in life and in art, Jim Brochu and Steve Schalchlin (co-creators of the Two multiple-award-winning musical "The Last Session") have chronicled the history of their relationship in story and song. 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."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?