There’s no denying the sheer ambition of April Alsup’s big, bold musical, in terms of its web of intertwining storylines, its eclectic and diverse characters, and the sensitive issues of gender and sexuality it attempts to address. There’s no denying, either, the sheer panache and energy with which it’s pulled off by its eager, energetic, ten-piece Denver-based company – no fewer than nine actor/singers, plus Alsup delivering an impassioned keyboard part.
Alsup’s songs are strong and memorable, in nicely complex arrangements too – tunes are swapped back and forth in complicated ensemble numbers, and the cast offers glowing harmonies as well as vivid solos. Eli Harvey is a troubled and vulnerable Ana, with a voice as honest and open as their character, while Tracy Denver makes a petulant Denise, at first horrified at her husband’s new apparel interests though later easing reluctantly towards acceptance. Online dating gets a merciless take-down, while the pleasures of sex are dutifully celebrated.
Despite the stage-filling collection of disparate characters – nicely choreographed by Heather Westenskow – there’s nonetheless a convincing overall story arc, as well as fulfilling individual plotlines for several of them (even if others inevitably feel a little underwritten). Best of all, however, BANNED offers a deeply human perspective on issues of gender and sexual identity, its flawed characters navigating their own mistake-filled routes through pronouns, preferences and plenty more. It’s a complex, compassionate show of missteps and misunderstandings, and one that warmly applies the tolerance it requests of others onto its own damaged but likeable characters.
By David Kettle
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