I FOUND A NEW BEAU FOR YOU
There are two standout reasons to catch Beau the Musical, the moving and musically stirring new Off-Broadway production now playing at Theatre 154—aside from the fact that its cast of eight actor-musicians are both a kickass band and a cast of emotionally resonant performers. First, yes, it’s Pride Month, and supporting queer Off-Broadway theater is always worthwhile. But more importantly, Beau the Musical distinguishes itself from the usual glitter-dusted gay canon. There’s no camp, drag, or divas here. Instead, this is a deeply American, southern story of chosen paths, family secrets, and the transformative power of music. And refreshingly, it doesn’t take place in New York, Los Angeles, or San Francisco.
Cory Jeacoma, Matt Rodin
Ace Baker (a luminous Matt Rodin) returns to his Nashville hometown and stumbles across a box of his teenage journals. Rather than debuting his new album at the Distillery, his old local haunt, he finds himself drawn backward—into the memories, music, and scars of his closeted youth, a time when homophobia was publicly tolerated and self-acceptance felt out of reach. Then comes the catalyst: Ace discovers that his supposedly deceased grandfather is very much alive and living in Memphis.
Cory Jeacoma, Matt Rodin
Enter Beau (Chris Blisset), the titular character and reason number two to see this show. For anyone lucky enough to have had a grandparent who understood them more than their own parents did, Beau resonates with an aching sweetness. Beau and Ace’s cross-generational connection is full of grit and grace. Blisset plays the hardened but ultimately tender grandfather with gravitas, humor, and heart.
Ace’s home life is no refuge: his mother Raven (Amelia Cormack) is frayed by years of secrets and survival, caught in a relationship with the well-meaning but over-eager Larry (Matt Wolpe). Cormack’s performance is a highlight—her Raven is layered, steely, and full of bruised longing. Wolpe brings comic relief but also lands two unexpectedly touching scenes with quiet power.
Chris Blisset
In Memphis, Ace finds more than just family—he finds music, and a gifted guitar, which becomes his passion. Back home, his best friend Daphney (a vibrant Miyuki Miyagi) pressures Ace to form a band, which begins to shape his identity. Complicating matters is Ferris (Cory Jeacoma), both Ace’s high school bully and first love. Jeacoma nails the painful contradictions of self-hating desire; his Ferris is an antagonist with tragic depth.
Every member of the ensemble pulls double (or triple) duty—playing instruments, shifting characters, and delivering emotionally calibrated performances. Andrea Goss and Derek Stoltenberg, on keyboards and drums respectively, also inhabit multiple roles with flair and nuance. The music, composed by Ethan D. Pakchar with lyrics and book by Douglas Lyons, leans country-rock, rooted in the emotional and geographic soil of the South. Each character gets their moment in the spotlight, but it’s Ace’s journey that anchors the show.
Amelia Cormack, Chris Blisset
Rodin, who has been with Beau for all seven years of its development, delivers a performance that’s both vocally soaring and emotionally grounded. His seamless transitions between present-day concert and adolescent vulnerability give the musical its heart. His voice, like the show itself, is filled with yearning and resilience.
Director/choreographer Josh Rhodes makes inspired use of the intimate Theatre 154, which has been completely transformed into an immersive environment by scenic designer Daniel Allen. The space—once a traditional stage—now inhabits from wall to wall the many details and textures of the Distillery bar, not to mention a school hallway and Beau’s Memphis front porch. Rhodes stages scenes all around the room with ingenuity and flow, keeping the action dynamic and the storytelling clear. Adam Honoré’s lighting smartly delineates memory and performance, while Devario D. Simmons’s costumes help define character and time shifts without fuss. Jordana Abrenica’s sound design ensures every lyric lands, even amid full-band arrangements.
Cory Jeacoma, Matt Rodin
There are many reasons to see Beau: Lyons’s beautifully crafted book and lyrics, the authentic and powerful score, Rhodes’s inventive direction, and the phenomenal company of actor-musicians. But above all, Beau is a rare queer musical that foregrounds tenderness, family, and the power of music to bridge generations. Produced by Out of the Box Theatrics, the show runs through August 3. It deserves a longer life—a larger Off-Broadway house, and an open commercial run. So well done in every aspect, this is a production to support.
photos by Valerie Terranova Photography
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Gregory Fletcher is an author, a theater professor, a playwright, director, and stage manager. His craft book on playwriting is entitled Shorts and Briefs, and publishing credits include two YA novels (Other People’s Crazy, and Other People’s Drama), 2 novellas in the series Inclusive Bedtime Stories, 2 short stories in The Night Bazaar series, and several essays. Website, Facebook, Instagram.
