REVIEW: Side Show

LOVE PENTANGLE: Nick Ortiz Trammell, Jenna Bainbridge, Regan Linton, Mark W. Dissette and (in background) Leonard E. Barrett, Jr. struggle with inner and outer obstacles and challenges to their dreams of love and acceptance in PHAMALY's compelling production of "Side Show." Photo credit: Michael Ensminger

The Physically Handicapped Actors and Musical Artists League (PHAMALY) is at its best when producing shows that clearly depict a disenfranchised subculture striving to achieve dignity, acceptance and affirmation against seemingly insurmountable challenges and obstacles.

Among their most effective productions have been "Fiddler on the Roof" (Jewish minority persecuted by Russians), "How to Succeed in Business" (working class vs. management) and the recent "One Flew Over the Cuckoo's Nest" (psychiatric patients rebelling against a repressive institution).

I'll always regret missing PHAMALY'S production of "Urinetown" (corporate greed exploiting a suffering underclass) and I'm eagerly looking forward to next year's production of "Man of La Mancha" (doomed prisoners of the Inquisition daring to dream an impossible dream).

But if there ever was a show to perfectly match the unique character of PHAMALY with the artistic expression of a fallen world seeking grace, it is "Side Show," a musical based on the true story of conjoined twins Violet and Daisy Hilton.

The semi-biographical show traces their three year rise from a freak show in 1933, to starring on the Vaudeville circuit, culminating with their being cast in Todd Browning's controversial MGM film "Freaks." But in actuality, the play is about Daisy and Violet's dreams of romance, marriage and family being thwarted by the complications of their physicality.

The Hilton sisters' aspirations reflect the shared longings of their friends, including cannibals and geeks, reptile men and bearded ladies, exceptionally tall and short people, and other so-called "freaks of nature." What gives PHAMALY's production special poignancy, is that these roles are played by actors who are coping with actual physical and developmental disabilities, vision and hearing impairment, spinal cord injury, Parkinson's, Multiple Sclerosis, Prader-Willi Syndrome, Cerebral Palsy and more.

Seventy years ago, some of these cast members might have made their living in side shows like the one depicted in this musical. Some would have been condemned to become objects of curiosity. Others, merely pity. Significantly, one key character's "affliction," which prevents him from ever hoping to marry his one true love, is his race. At least some progress has been made.

Consequently, the opening number "Come Look at the Freaks," thrown in the audience's face with unrestrained passion, is electrifying, to be topped only by the heartfelt appeal of the show's theme song, "Love Me As I Am."

When Daisy (Jenna Bainbridge) and Violet (Regan Linton) experience triumph, their whole community rejoices. When they suffer disappointment, their community embraces them with acceptance, understanding and compassion. It's a model for how humanity could be, what the Church should have always been.

Caught between the nurturing community of "freaks" and the despicable, cold-hearted exploiters who have the power and literally run the show, are a talent scout (Nick Ortiz-Trammell) and a talent coach (Mark Dissette) who strive to help the Hilton sisters rise to their full potential, only to become emotionally entangled with these distinct but inseparable women. Sadly the men are revealed to be emotional and relational cripples. Able and disabled gaze at each other across an insurmountable cultural chasm and recognize that we're not there yet.

In one encounter, a snooty socialite asks the sisters, "Don't you want to be normal?" And in a response that elicited cheers from the audience, one sister looks her square in the face and asks, "Don't you?" That pretty much levels the playing field for us all.

PHAMALY first staged "Side Show" nine years ago, and it became a defining moment for the 19-year-old company, bringing them national acclaim. Since then their production qualities have steadily improved (you'll actually see a double-sized wheelchair take flight!), and several of the performers have "broken out" to perform with other companies, knowing they have a welcoming "home" to which they can return.

"Side Show" debuted on Broadway in 1997, was sidelined after just 91 performances and won no Tony Awards. Since then it has never been part of the main stream, which seems to suit PHAMALY just fine. Director Steve Wilson has transformed the show into a smash hit. Some of the numbers, especially the Vaudeville sequences, are ingeniously staged, turning liabilities into assets in delightful and surprising ways.

"Side Show" clearly demonstrates the conflicts we all feel between longing for connection but coveting privacy, sharing with others and having something all one's own, being put down as an outcast and being cheered as a champion.

It's about being human, and no company puts our essential humanity in focus like PHAMALY.

"Side Show"performs through June 29 at the Space Theatre in the Denver Performing Arts Complex. For tickets, call 303-893-4100 or visit www.phamaly.org. For more information on PHAMALY, call 303-575-0005 or visit www.phamaly.org.