as “lizard boy,The 2015 musical, Now Premiering at New York’s Theater Row, ran about 20 minutes past its advertised 90 showings, but I’m not sure what the net positives of comic books are to this culture. I began to wonder if it was having an impact on me. Staged at the Prospect Theater Company production after screening at last year’s Edinburgh Fringe Festival, this quirky indie rock show, with the book, music and lyrics by Justin Huertas, is a delayed comprehension. The medium’s clichés are used, even to the main character. in adult affairs. (And no, I don’t think this show is for kids.)
When you meet the main character, Trevor (Huertas), in Seattle, you learn about a terrifying incident that happened to him 20 years ago. A winged dragon was shot down by a soldier, and its blood rained down on Trevor (and his four other hapless children). , he grows green scales and mutates them in some way. Now he only leaves the house for the annual Monster Fest. The event is like a comic-con celebrating the slaughter of dragons, and apparently the only time he can go unnoticed. But when loneliness won out, he downloaded his Grindr and met up with silly Cary (William A. Williams).
Kaley, who only wanted sex, eventually fell in love with the innocent Trevor. Trevor speaks of her mysterious presence in her dreams. In a neat doubling of the timeline that flips back and forth between the pages of a comic book, their cute encounter is played by the very person from his dreams, the brutish Siren (Kiki DeLor). connected with visiting filthy nightclubs. . Their encounter is fateful, and the three become embroiled in a routine battle for humanity as Singer seeks to work with them to fend off what she and Trevor believe are impending doom. However, in the end, you become a threat to yourself.
Led by Brandon Ivy, the performers play their instruments and fly roadcases around a chaotically chic set featuring Suzu Sakai. On the wall behind the bricks are faded posters and projections of Catherine Freer comic books that do fantastic heavy lifting as wings and superpowers come into play in the story.
Huertas’ music is soothing, reminiscent of ’90s Duncan Shake, with intuitive lyrics and beautiful melodies. But if the idea builds on the parallels between comic books and the isolation of heroes and disenfranchisement of the readers themselves, in a way to weave in queer emancipation, then the proposal is: It just doesn’t work in a show that’s surprisingly puritanical and incredibly narrow-minded. perspective on sex.
Trevor repeatedly berates Carrie for her own lust, and the show prioritizes Trevor’s virgin purity. With her tragic backstory revealed, the bourbon-soaked, switchblade-wielding Siren is essentially a humorless take on Audrey from Little Shop of Horrors. But here, with her stilettos and demeanor, you get the sense that she’s someone with something. Sex, and therefore must be a villain.
Just as comic books continue to permeate the concept of mature art, sex is everywhere and nowhere in the musical Lizard Boy.
lizard boy
Until July 11th at Theater Row in Manhattan. Prospect Theater.org. Running time: 1 hour 30 minutes.
