Bubbly Youthful Innocence
“The Bubbly Black Girl Sheds Her Chameleon Skin”
Speak Easy Stage Company
At The Boston Center For The Arts
By Richard Campbell, The Epoch Times International

Kirsten Childs’ cunning semi-autobiographical musical birthed at Playwright’s Horizon’s in New York six years ago, has made its Boston debut at the Speak Easy Stage Company at The Boston Center for the Arts. In its current production, “The Bubbly Black Girl Sheds Her Chameleon Skin” launches a few notable careers of a vibrant cast, sets satirical sights up high, and succeeds as a colorful, musically balanced production. It doesn’t exactly rob your heart based upon soulful depth because of frequent pit stops at the saccharine counter, but the story is laced with redeeming satire, and urban pathos. The fragile innocence of the talented young performers is the reason to come to this production- they gleam under the apt direction of Jacqui Parker like new found pennies.

This is definitely a production tailored for young Bostonians. You too will be able to say you saw the likes of Stephanie Umoh and Anich D’Jae as they wind up their careers at Boston Conservatory, cutting their dramatic teeth before they become household names. “Bubbly…” reveals classic vocal ensemble work, with sometimes engaging lyrics of over twenty five numbers that take us on a magical mystery ride from the 1960’s in L.A. to New York in the 1990’s. Did I say twenty five? I love harmonic and lyrical complexity in musicals, but this libretto may have reached the limit. Just how many themes can be coherently played out in one evening? With a stronger melody focus and some judicious cuts, the reprisals would have been a lot more memorable.

This musical comic-tragically touches every cliché about the baby boom generation the author can find, weakening what could be an extraordinarily powerful musical about racial identity in the performing arts. We want to know the story of this young, beautiful black performer, Viveca, in love with the world of song and dance, trapped by an identity crisis created by racial prejudices. Unfortunately, (Viveca aka Bubbly) is surrounded by too many unfocused cameo roles and sub-plots. Lucky for us, this kaleidoscopic life view usually means on to the next dance number. The precise choreography of David Connolly does not over tax the dance limitations of the men, and solidly takes advantage of the women’s superior dancing abilities.

Happily Stephanie Umoh is a trust worthy embodiment of the charming young coming of age “Bubbly” performer, who delights the audience with well pitched vocal chords, a light step, and pretty presence. The true chameleon, however, is Anich D’Jae, who possesses an electric connection with the audience. The entire female cast, who double in multiple roles, celebrate with great comedic timing, and solid voices. Jackie Comisar and Aimee Doherty deliver most notably when they play out the satirically biting Chitty Chatty Doll sequence. When they are joined by Trecia Reavis and Ms. Umoh in the “Secretary Pool” song, the result would have made Bob Fosse proud. Ms. Reavis takes the entire cast up a notch with a rousing performance as Granny. Her power of funk and soul classes should be made available, one on one to some of the men.

The men in this cast do not equal the women, but shine modestly in their Jackson Five induced performance, or when they are stir up love connections L.A. style with mellow harmonies. John King takes the stereotypical stupid hippie role of Cosmic as far as anyone could, with stoned blabbering that nicely contrasts with his work as Bob, the sex obsessed director. Lawrence-Matthew Jack plays Lucas suave and cool with a more relaxed set of chords than some of the other male leads who are too green for solo work, but make admirable choral contributions. Jaime Cepero III straddles the difficulty of growing up beyond roller skates, seeking a more mature voice as Gregory in “Beautiful Bright Blue Sky.”

Under the musical direction of Jose Delgado, the five member pit band has the chops, and produces a near flawless accompaniment. Seth Brodie creates period costume looks, from street corner rat pack L.A. to secretarial pool dowdy, and sensual dance school warm ups, that reveal an attention to detail and mood. The “Zoom” like primary colored toy box set design by Eric Levinson, found the warming influence of John Malinowski’s lighting designs. One leaves the theatre with a generalized euphoria, but not one song seems to stand out. Reminiscent of musicals in the late seventies and eighties, this production is a nostalgic view of life in the theatre that is not without social merit.