THE CHRISTINE JORGENSEN SHOW
By Donald Steven Olson
Directed by Michael Barkavia and Zoë Adams
Featuribng Jesse James Keitel and Mark Nadler
59E59
Reviewed by David Spencer
The Christine Jorgenson Show took me completely by surprise, and in a way it would be good if it took you by surprise too—the power of a genuine, sneak-up-on-you sleeper—so I’ll try not to say too much.
You don’t have to know who Christine Jorgensen was—for many, now, she can be a generational reference, to be sure—though in the early ‘50s and until her death in 1989, she was an American celebrity; at the beginning for being the first person widely known for having undergone sex reassignment surgery…but in short order for being an actress, singer, raconteur and witty spokesperson for the cause.
The play, by Donald Steven Olson, originally (and appropriately) called Transformation, does not dramatize, as you might expect from either title, her biographical tale—other than collaterally. It’s actually kind of a love story. Concentrating on one aspect of the process after the process.
In it, Christine (Jesse James Keitel), well known of, though not, as herself, well known, has had celebrity thrust upon her—but hasn’t managed to wrangle it, own it or feel in control of it. So she has decided to try wholeheartedly embracing it, by developing a club act, being a performer…as a way of both normalizing what she’s been through in terms of public perception…and finding her own inner gyroscope about presenting that normality.
And her producer sends her to Myles Bell (Mark Nadler) for coaching. He’s a down-and-out club entertainer, pianist, songwriter—and coach—living in a rehearsal studio-cum-apartment, but he’s a smart and seasoned veteran. It will be his job to bring Christine “out of herself” and help her find the sweet spot.
And of course, in the process, she brings Myles out of himself too, as his own capacity to contribute, to make the most of his talent, is reinvigorated.
How true-to-life this dramatization is I haven’t researched and can’t say…but I can tell you that crafting a club act is indeed what Ms. Jorgensen and the very real Myles Bell did together.
And as performed by the two thespians and directed by Michael Barkiva and Zoë Adams—yes, it took two to direct this small show, and I have my theory as to why, but to divulge it is also a spoiler—it’s completely beguiling.
Caveats? One. The special material we are to believe was written by Myles for Christine is original to this production and of course, therefore, not the historical original material (if there was any); the music and lyrics are instead by the author and Mr. Nadler, who portrays Myles. And it’s in the realm of entertaining but mediocre special material, very typical of its type. And that quality…well, eye and ear of the beholder, for me as a musical dramatist, it was a tricky listen. I couldn’t tell if the songs and patter were purposefully “mediocre,” to evoke an era and a sensibility…or mediocre on their own terms. Not that they don’t fulfill their function; but I kept wondering if that function could have, should have, been fulfilled with more dazzle. They does no harm to the play, but their nature makes a style statement; and had to wonder if the special material wasn’t reaching high enough. And I’ll leave it at that.
There is much more to say, but again, the power of this modest little show to take you on its big-hearted journey is something best experienced sans preparation.
And it’s a show that deserves to transfer. That other kind of transformation.
The Christine Jorgensen Show is exactly the kind of show the Zeitgeist seems to be calling for in these days of diversity and inclusion and educational content…and one of the few that gets the balance between trend and art exactly right.