Put That Bass In Your Walk and Run To “The Legend of Georgia McBride” at Players Club of Swarthmore
by Amber Stolarski
“What does it mean to pursue your dreams? What is the weight of a true ‘American dream’?” Director Max Segarnick’s thoughtful director’s note asks audiences to consider this question as we prepare to watch Players’ Club of Swarthmore’s production of The Legend of Georgia McBride by Matthew López, now playing on the company’s Second Stage through October 18th.
My journey to this evening’s destination of Cleo’s, a dive bar in Panama City Beach, Florida, began as I walked up to the second floor Second Stage space. I was met with a semi-in-the-round style seating arrangement, with seats on three sides of the stage, in close proximity to the actors’ performance space. The sound of “Cold Hearted” by Paula Abdul played and I was immediately transported to a hazy bar full of patrons enjoying a night’s worth of libations and each other’s company. The set is laid bare before our very eyes, minimalist but clearly delineating our three settings for the evening: a living room, a club dressing room, and the mainstage of Cleo’s. Dana David is credited with set design, and their vision proved effective.
Something I was thinking about during the course of the performance was Segarnick’s request that we consider “intangible societal forces at play” that would inform the characters’ specific choices throughout the course of the evening. I was thoroughly impressed by every single aspect of the performance and tried to keep the director’s request in mind as we were brought into the story. Segarnick did an incredible job pulling such depth from the actors onstage. As an audience member, I could see layered, complicated people onstage. No character felt one-note or shallow. These were not caricatures, but real people experiencing very real life events.
The premise of the show is that Casey, a young Elvis Presley impersonator, finds that his wife Jo is expecting at a time when the rent checks are bouncing, debit cards are declining, and his boss, Eddie, is threatening to end his employment due to low crowds. What is a man to do in that situation? Faced with financial ruin and an expanding family, driven by the desire to do right by the woman he loves, Casey staggers out of his comfort zone (and Elvis jumpsuit) and into the world of drag performance. At first, Casey’s foray into drag is an act of desperation, a last-ditch effort. But under the sometimes-tense tutelage of one Miss Tracy Lynn, Casey begins a gradual and glorious transformation into Georgia McBride.
Nolan Maher takes on the role of Casey with complete dedication. His chemistry with Jo (LaPorscha Rodgers) is palpable and their relationship is immediately believable. Throughout the show, we are treated to the actor's superb guitar skills and vocal process to match. It is evident that Maher put an incredible amount of work into character development. Even when fully immersed in the persona of Georgia, Casey's heart and soul linger under the surface and maintain a presence. Something I noticed was the evolution of his lip-synching, changing from nonsense words to miming in flawless French a la Edith Piaf.
LaPorscha Rodgers takes the character of Jo and offers a very layered portrayal of a woman one might encounter in everyday life. Her performance offered moments of sternness, moments of kindness, and a raw, real look at a woman who sees the reality of the life she's living and has a deep yearning to change things for the better.
Randy Rice takes a phenomenal turn as Miss Tracy Mills. Their characterization is a blend of kindness, mentorship, tough love, and self-preservation. I especially enjoyed their consistently delightful vocal cadence and inflection, always real and never devolving into a caricature of a drag queen. Their banter with the audience and fantastic energy throughout the performance was a real treat to watch.
Randino effortlessly morphs into two VERY different characters throughout the course of the show. Their facility for disappearing into a role completely is incredible and not often matched. Randino, as the drag queen Rexy, delivers a heart-wrenching monologue in the latter moments of the show that left me breathless and fighting not to audibly sob. With their performance, we are to be reminded that drag (and LGBTQ+ art as a whole) should be celebrated and protected. Alternately, Randino's take on Casey and Jo’s bro-of-a-landlord Jason provided comic relief and absurdity that was much appreciated.
Eddie, the proprietor and emcee of Cleo’s, is played masterfully by Chas Thomas. He showed a great and tangible character arc, particularly highlighted throughout Eddie's show of confidence as an emcee, completely dependent on the success of each night at the bar. Thomas’s Eddie is extremely hard on his staff, but he remains likeable and the audience understands his motivation and drive completely.
Max Segarnick’s direction is completely effective. Every moment of the piece felt meaningful and purposeful. In a society where drag and the LGBTQ+ community are often found under attack, we as the audience are shown the humanity and passion behind the performance. This piece teaches us that you may find a new passion in the most unlikely of places. Lucy Moth takes the reins as Drag Consultant in addition to assistant directing (accompanied in the latter role by Hilary Kissinger) and her contribution is irreplaceable. I am unfamiliar with the actors’ experience with drag performance; however, Moth’s expertise drew out authenticity in every instance.
Major props are also to be awarded to J. Tyler Atkinson (Lighting Design), Suzette Krausen (Properties Design), Arlowe Willingham (Costume Design), and Scout Houser (Wig and Makeup Design). Nance Reeves handles both the light and sound boards with ease, and Hope Smalley serves as Stage Manager extraordinaire. From my perspective, no cues were missed and everything onstage AND backstage seemed to go off without a hitch.
I highly recommend that theatre lovers make their way to Players' Club of Swarthmore before time runs out to catch this fabulous performance. The remaining shows are October 16th and 17th at 7:30pm and October 18th at 2:00pm.
Oh, and bring singles. Tip the queens. Tickets can be found at https://ci.ovationtix.com/117
