The content of Jerry Springer the Opera

[Lauren Fraley]

After the lively thread about the protestors on opening night of Jerry Springer the Opera at the Beck, Betsy Voinovich suggested I copy my review of the show to get a dialogue going about the content of the show as well... here it is!

Broadway at the Beck: Jerry Springer the Opera
By Lauren Fraley

Artistic Director, Scott Spence, announced that Jerry Springer the Opera is, “Exactly what it sounds like.” If by that he meant offensive and sacrilegious, it shouldn’t come as a surprise that opening night was peppered with the best press the Beck Center could ever hope for— dozens of individuals and signs protesting the blasphemy of Biblical themes and characters in the show’s second act. With protestors strewn about Detroit Ave and the director’s disconcerting disclaimer in my head, I walked into the theatre on opening night with expectations of complete absurdity and lewdness. To my delight, just like the talk show it’s based on, Jerry Springer the Opera is not only absurd and lewd, but absolutely brilliant.

Though morally questionable, Jerry Springer is a genius. He panders the lowest of the low’s dysfunctions and makes a fortune doing it. And what better medium to represent this tabloid television than opera—a medium that so often thrives on unreal and unnecessary drama and heightened emotion! Scott Spence and set designer Trad A. Burns use extremely clever conventions that enhance this. TVs above the stage replicate what America is so used to seeing on talk shows, with the surreal effect of letting us also see the live human beings (and all their cheating, swearing, screaming mayhem) a mere ten feet away at times. What’s more, the audience is in thrust— 3-sided seating— but the third side is filled with a ridiculous motley crew of characters created by an extremely talented ensemble. This set up makes it almost impossible to stop from joining in with the annoying but contagious chant of “Jer-ry! Jer-ry!” especially while Matthew Wright gives a spot-on portrayal of Jerry Springer’s apathy and effortless politician’s swagger.

Despite the brilliance of the first act, the second is a bit of sensory overload. It’s also the act that is the primary source of the Judeo-Christian controversy, containing Adam and Eve, God, Satan, Jesus and Mary— “The teen mother of Jesus who was raped by God.” (Get what they mean by “irreverent” now?) Though the commentary becomes convoluted at this point, the performances remain strong and Martín Céspedes’ imaginative largely gesture-based choreography and simple formations continue to be particularly impressive in the limited space of the small studio theatre.

Gilgamesh Taggett gives another great performance at the Beck, sufficient in the first act, but the driving force of the second as a completely charismatic Prince of Darkness. Other especially noteworthy performances include the soprano stylings of Ryan Bergeron as an uproarious transgender Springer guest (moving miraculously well in platform heels) and Diana Farrell playing 3 roles—all unique from one another, but equally engaging and all performed with her powerful and gripping vocal technique.

The Beck Center presents the award-winning musical, Jerry Springer: The Opera, in the Studio Theater, February 18 through March 27, 2011. Showtimes are 8 p.m. Fridays and Saturdays and 7 p.m. Sundays. There are no matinee performances for this production.

This production is not recommended for children and contains material that may offend some people.

So is the controversy worth it? Does the commentary come through? See the show and share your thoughts my blog at blogs.bgsu.edu/lfraley and share your thoughts!

[Stan Austin]

YIKES!!!!!!!!
Lauren---- what an intense review--- I don't think I've ever read such a power house staccato overview.

I gotta lie down after that!

Stan Austin

[Lauren Fraley]

I felt similarly after seeing Jerry Springer the Opera, so view the review as a warm-up

[Betsy Voinovich]

Gilgamesh Taggett gives another great performance at the Beck, sufficient in the first act, but the driving force of the second as a completely charismatic Prince of Darkness.

Hi Lauren,

Thanks for the great review. The show sounds fascinating. I love the idea of joining a crowd of Jerry Springer studio audience viewers in the theater itself. I have to ask about the Prince of Darkness, if you don't think it will be giving too much away. I'm assuming that God, Jesus, Mary, Satan and Adam and Eve are guests on show? I'm wondering what role Satan played in the first act-- I'm wondering if he was following Jerry around and whispering in his ear, or he's the director, or the producer, of the Jerry Springer show itself.

I'm also wondering if Jerry Springer's political career in Ohio politics comes up.

I'm not sure I'm going to get to see this, I hope so, meanwhile I'm intrigued by how it all fits together.

Thanks.
Anyone else who's seen the show, feel free to weigh in.

Betsy Voinovich

[Lauren Fraley]

Betsy-
Without giving much else away, Gilgamesh Taggett, the actor playing Satan in the second act, actually plays a different role in the first act. He plays the "warm-up guy" on the show who wrangles the audience, calls them white trash and doesn't really think to highly of the show. In fact, when we get glimpses into the off-stage relationship of the "warm-up guy" and Jerry Springer, we see that "warm-up guy" encourages Jerry to do more with his life. He tells Springer how he could be a SENATOR with the skills he has (which he did actually consider in 2003-- speaking to your question about mentioning Jerry Springer's political career).

One question that came up for me during this part of the show was how much of Springer's political career is the same as his persona on TV. He ended up not running for senate because of negative associations with the show... but just to stir the pot... which is better: blatant manipulation on a public TV show, or concealing but still using these same tendencies towards manipulation in that career in public office that "warm-up guy" tries to get Jerry to pursue?

[Mike Zannoni]

I haven't yet seen any plays at the Beck, but this really sounds like something to see. It's apparently running through April 17th, adult tickets $31 (including sevice fee). Can buy tickets online: http://sa1.seatadvisor.com/sabo/servlet ... BECKCENTER.

For any other people like me (who are unfamiliar with the drill):

Curtain Times:
8 p.m. Thursdays, Fridays, and Saturdays, and 3 p.m. on Sundays. Some exceptions apply. Please note: The performance on April 9 will begin at 11 p.m.

Box Office and Gallery Hours:
Monday through Thursday, 9:00 a.m. to 8:00 p.m. and Friday, 9:00 a.m. to 5:00 p.m. Call for special holiday hours.

Thanks for the interesting, well-written review.