The peppy opening number of Naked Boys Singing, “Gratuitous Nudity,” pokes fun as to why we’re in the audience but promises, “No crudity. Just gratuitous nudity.” (Certainly easy on the eyes and naked 99% of the time the ensemble of Max Albertos, Mitchell Guzman, Joby Hernandez, Fidel Rebolledo, Renzo Sotelo and Luis Villanueva are handsome talented singers). Yet, most important, at the end of the opening number the men sing, “Than nakedness is just another window to the soul.”
Naked Boys Singing is an entertaining comedy revue with some real life pathos. Yet the lyrics and even the sequence of songs fail to develop this cohesive theme. The lyrics are gay oriented, a good selection for Incanto Theater situated in Puerto Vallarta –the gay friendly capital of Mexico. Yet most people evolve beyond potty humor after discovering the magic our naked bodies can create.
Perhaps edgy when originally produced Off-Broadway in 1998, I was getting bored and puzzled with Robert Schrock’s current version of his 20-year-old musical Naked Boys Singing by the end of the third song. I stress bored with the production not the boys.
Is Naked Boys Singing a vaudeville revue poking fun at our attitudes on nudity and sex? Or is it a musical of how we men see ourselves, literally, develop from the potty humor of 9-year-old boys, through teenage angst, to a celebration of why we (men and women) have beautiful, biologically designed bodies that produce fun, brainpower and love. Unfortunately creator Robert Schrock fails to ask himself these questions.
A lack of imaginative direction leaves six handsome naked men basically singing a concert in a straight line. One potty humor opening number would have been fine. “The Naked Maid” is silly but at least it was choreographed.
“Fight the Urge” (sung by Max Albertos, Mitchell Guzman, Joby Hernandez) speaks to many men, especially when gay teens, of uncomfortable moments in school locker rooms. It’s funny, true and in the last stanza sets up what could have continued a developing theme for the musical, “I can’t let anyone know what’s happening inside. I am all alone.”
Following that number, “Window to Window” (sung by Fidel Rebolledo and Luis Villanueva) provides a glimmer of thoughtful lyrics that brought more meaning to this play. In “Window to Window” two neighbors view each other frequently from across their apartment buildings’ divide. In a beautiful duet they communicate through attraction and desire. In the final lines their thoughts mesh even though physically separated when they sing, “Take a risk. Be daring.”
The beauty in “Window to Window” is that we do not know if the desire will be fulfilled. How many of us, gay or hetero, have not felt this same longing? That is the direction that could make Naked Boys Singing relevant theater and still retain its humor.
Unfortunately Robert Schrock concentrates on a miscellaneous list of minor topics from gay gym rats in “Muscle Addiction” to being a “Perky Little Pornstar.” Too many songs are just gratuitous entertainment. The lack of creative direction and a thematic vision fails to take advantage of the talents of six handsome naked men.
Yet the second act does have three songs of significant interest that capture a universal sense of humor, longing, fear and acceptance. The lyrics in “Nothing But the Radio On” (sung by Joby Hernandez) comically compare reactions to Marylyn Monroe’s famous 1950s nude calendar photo with still hypocritical sexual image attitudes.
“Work of Art“ (sung by Luis Villanueva) was appropriately a tableau recreating athletic nude marble statues with four of the cast members. The central, classically posed statue (Luis) sings of a particular man that frequently visits the museum. In silence they are doomed in expressing their mutual love. Once more the longing for love shines in this song.
The third to last number, “Window to the Soul,” a tender duet sung once more by Fidel Rebolledo and Luis Villanueva, should have been the final number in the production sequence. The “Window to Window” couple discovers the true nature of their love. They take the risk as scary as it is, “And now I know that who I am isn’t shameful or obscene.”
Naked Boys Singing should be an entertaining exploration of nakedness as both physical beauty and its impact on everyone’s self-image. Yet out of fifteen songs only a handful explore this identifiable theme – “nakedness is just another window to the soul” – that the musical introduced in the opening number, “Gratuitous Nudity.”
Still, the six talented naked young men in this Incanto Theater production have fun proving that nudity is the ultimate selfie.
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