UPSIDE DOWN
A STRAIGHT UP MUSICAL SATIRE
I admire AMT Theater for two key reasons: its dedication to developing new works—particularly musicals, which I’ve witnessed in the past—and its commitment to showcasing up-and-coming talent, often granting well-deserved Off-Broadway debuts. It’s also impressive that this intimate 97-seat venue is staging the two-act musical Upside Down with a cast of 14 and a 5-piece band, including Music Director David Wolfson on keyboard. Returning AMT alum Albert Tapper (music and lyrics) joins forces with book writer Tony Sportiello (AMT Theater’s Artistic Director) to bring this enjoyable production to life, which runs through April 5.
The premise recalls the 2003 Off-Broadway musical Zanna, Don’t!, a fairytale world where being gay is the norm and heterosexuality is the minority. True to its title, Upside Down flips familiar societal scenarios on its head: a straight couple is denied a wedding cake, their public display of affection is met with sneers, and a TV talk show featuring straight issues is flooded with opposing viewpoints. However, rather than being heavy-handed, the show takes a lighthearted, comedic approach—fitting for a story about a songwriting duo (Mike Ferlita and Matthew Liu) whose greatest ambition is to land a Broadway hit. Beyond its playful political satire, the show revels in musical theater in-jokes, affectionately spoofing the genre and its conventions.
The main conflict arises when an ambitious agent (Gina Milo) encourages the songwriting team to be provocative by writing Broadway’s first-ever “straight” musical. As the duo crafts Tanks for the Memories, bookwriter Jack Tanner (Ferlita) unexpectedly finds himself drawn into the straight world, guided by Tammy (Brogan Nelson), who eagerly shows him the ropes (so to speak). Surprisingly, Jack discovers he likes it, and act one ends with an erection—a revelation that upends his entire identity.
By the final scenes, the production finally hits the high-energy, fast-paced stride it needs, culminating in a satisfying feel-good finale. It’s unfortunate, however, that director/choreographer Taavon Gamble doesn’t establish that momentum earlier. Part of the challenge lies in Sportiello’s book: while amusing, it leans too heavily on a single joke, playing to an audience already in on it. If the show aimed to be even more current and edgy, why not the dominant group be trans men and women, with cisgender characters in the minority?
That said, Gamble’s choreography is enjoyable, and Tapper’s score—featuring over 20 numbers—is both varied and entertaining. A few songs could likely be trimmed, but with such a vocally talented cast, you won’t mind. Standout performances include Ferlita, whose presence and strong voice are reminiscent of a young Santino Fontana, along with Patrick Brady’s heartfelt “Without Mom,” Kelli Maguire’s theatrical “All the World’s a Stage,” Brogan Nelson’s lively “Tennessee Rag,” and everything sung by the powerhouse duo Ashanti J’Aria and Kira Sarai Helper. Whereas all the vocals excel expectations, the acting is uneven throughout the company.
Despite the theater’s limited backstage space, William Olson’s set design makes creative use of a semi-circle of red glittery walls and a row of overhead/oversized dominos, enhanced by Aiden Bezark’s colorful lighting. Despite the many needed scenes, Olson’s transitions from one scene the next often feel clumsy. Ryan Marsh’s sound design ensures strong vocal amplification during musical numbers, though dialogue is sometimes over-amplified.
While Upside Down may not be Broadway-bound—or even ready for a transfer to the Lortel—it boasts an engaging score and a wealth of talent both on and offstage. If you’re looking for a lighthearted satire with catchy tunes and a fresh ensemble, it’s well worth rooting for this production.
photos by Jillian Nelson
Upside Down
AMT Theater, 354 W 45th St — between 8th and 9th Aves.
Wed at 2 & 7; Thurs & Fri at 7; Sat at 2 & 7; Sun at 3
ends on July 13, 2024
for tickets ($65), visit AMT
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