In a desperate attempt to prove they can think about someone other than themself, Morgan Bassichis turns to the work of queer comedian, musician, and performance artist Frank Maya. Maya was among the first out gay comedians on network television and on the precipice of mainstream success before he died from AIDS-related complications in 1995. This new “solo” performance humbly attempts to ensure Maya’s legacy is no longer overlooked while finally resolving the bottomless queer search for fame, father figures, and laughter in times of crisis.
Bassichis delivers an evening of highbrow comedy that won’t soon be lost to the archives. Maya refused to apologize or equivocate about his life and identity, and Bassichis refuses to apologize about using Maya’s persona as a vehicle for fame.
There is a windup of rightous outrage that is meant to lead us from honoring a history of men lost too soon to AIDS to connect to a rage we should feel about our government today. These are generation defining moments, but the show does not build towards this. Instead, there is more of a sudden catapult of political ideas that just get launched towards us at the end. Rage about AIDS, our government, and the violence all around us. It wants to be a meaningful call to action, but how did we get here?
| 2025 | Off-Broadway |
Off-Broadway |
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