Girls, The Theater Season Comes Full Circle!!!!!!!

The season began last fall, when Monsieur and I caught that modernist version of "The Little Foxes" at the New York Theater Workshop. It was on that night I learned, in the Spring, that a new musical, "The Shaggs--Philosophy Of The World" would be performed, and I was so excited, as this offered a wealth of possibility.

I was also familiar with the group. About 30 years ago, my friend, Doug, gave me "Philosophy Of The World" on vinyl. I still recall the first time I played it. I have never heard anything like it, before or since.

Basically, The Shaggs were the Florence Foster Jenkins of the pop music world. Their distinction was they had absolutely no talent, yet managed to get to the limited place they did. Then, almost a decade later, in 1977, they were re-discovered by someone at "Rolling Stone" who named them "Comeback Band Of The Year," and their cult was born.

The show that is seen incorporates some of The Shaggs tracks, and the actresses who play the Wiggin Sisters--Betty, Dot, and Helen--at times sing like The Shaggs, which means they sing bad skillfully; other times, they sing beautifully, because then we are hearing them from the obsessed father's eyes.

What is presented is a sort of inverted "Gypsy." Austin Wiggin, heeding a prophecy made by his deceased mother, is bound and determined to make it come true, come Hell or high water. She forecast that the girls would do something for him. Wiggin, a frustrated millworker, who wanted something better for himself and family, yet had no real idea what (which was sad) is inspired by the Beatles to make his daughters over into a rock band image. Ignoring that they are not really interested, have absolutely no talent, and, predictably and understandably, begin to chafe at the bit he is force feeding into their adolescent mouths. "The Shaggs" is a worthy addition to the "Dark Show Business Musical" genre, with its dissection of America's obsession with Fame, and the crackup of the American Dream. Hell, it gets so dark, it sometimes ventures into "Follies" territory.

Which does not keep it from being enjoyable. Peter Friedman gives a performance of "Papa Rose-ish" proportions, as the frustrated patriarch, and Annie Golden, radiant as ever, with that voice still to match, gets to soar in her one number, "Flying." The three lucky or luckless, depending on how you feel, daughters, are portrayed by Jamey Hood (Dot), Emily Walton (Helen), and Sarah Sokolovic (Betty). All are superb actresses with obviously strong theater voices, for whom this prominent gig should be a jumping off point.

The show is not afraid to go into such dark realms as the supernatural and potential mental illness. Yet it is better than anything I have seen recently, and that includes--sorry, you Theatre Queens!--"The Book Of Mormon!"

Honey, REAL Theater Queens will recognize and value this show. But be forewarned, the audience is mainly those who know who they are/were. Familiarize yourself with them before going.

Why, even Dracula will be there, darlings!!!!!!!!!!!!!!!!!!!!!!!!!!