Playwright: Dan Collins ( book/lyrics ), Julianne Wick Davis ( music ). At: Writers Theatre, 325 Tudor Ct., Glencoe. Tickets: 847-242-6000; WritersTheatre.org; $35-$80. Runs through: Sept. 17
I'm split between enthusiasm for this unquestionably exciting world-premiere production and reservations about the value of the work itself, from my perspective as a mature cisgender gay man.
Trevor the Musical's New York ambitions are obvious from the out-of-town personnel involved and from the production's size, probably enhanced with commercial theater money. There's nothing wrong with that ( it's how many new musicals are developed these days ), although it makes for an explosively, relentlessly high-energy show that nearly overwhelms the 250-seat Writers Theatre. It's not Broadway yet. It could be pulled back a touch without losing impact.
The title character, Trevor, is 13 years old, worships Diana Ross ( it's 1981 ) and is discovering he's gay. Both narrator and central figure, Trevor is a huge role requiring a charismatic, big-belting song-and-dance dynamo, and this show sure has the right young guy! Eli Tokash is a dazzling, amazing, triple-threat sensation; he has it all and does it all superbly.
The mostly young supporting players are appealing and more than capable, with outstanding work by Declan Desmond ( as Trevor's unrequited boy crush, Pinky ), Tori Whaples ( Trevor's would-be girlfriend Cathy ), swivel-hips Matthew Uzarraga ( Trevor's best friend Walter ) and Salisha Thomas ( Trevor's dream Diana Ross ).
Yes, Trevor the Musical is a must-see for wonderful performances in a well-staged ( Marc Bruni, director; Josh Prince, choreographer ), up-beat, high-energy and mostly-funny show.
Now those nagging reservations. I remember vividly my four high school boy-crushes ( one dated my sister! ) while having no idea I was gay because homosexuality wasn't discussed, not even as a negative. No fruit/fag/fairy/queer/pansy jokesI wouldn't have understood them anyway. But that was pre-Stonewall. Surely things had changed by 1981? Yet Trevor ( musical and film ) might as well be 1961.
Also, given the fact that the film inspired The Trevor Project devoted to LGBTQY teenage suicide prevention, I think the musical could/should tell the story more profoundly today than did the film, with its generally-comedic tone. Awareness has changed since 1994, too. Frank Wedekind's Spring Awakening, written 126 years ago, provides a deeper teenage homo-erotic story ( as does its 2006 rock musical version ). Trevor the Musical is a well-done, fairly standard musical comedy about a gay teenager. From a gay perspective, it might have been more.