BWW Reviews: Biting Wit in VAMPIRE LESBIANS OF SODOM

A few weeks ago, I watched a television show where a character noted that the Chinese symbol for "war" was "two women under the same roof." Now, from what I understand, this is a false and pretty sexist myth roaming the internet, but nevertheless, it still stuck in the back of my mind. And there it remained dormant until I saw the opening of Jobsite Theater's production of "Vampire Lesbians of Sodom" Friday night.

If you're familiar with any of author Charles Busch's other works (DIE, MOMMY, DIE!, PSYCHO BEACH PARTY, THE DIVINE SISTER), you're aware that he has no fear of crude, tawdry, punny, outrageous humor. His comedy is certainly not everyone's cup of tea, but is faithfully heralded by his growing cult following.

The play follows the eternal lives of two vampires, one who was turned by the other (to vampirism, not lesbianism), centuries ago in the doomed city of Sodom. The two, both aiming for a life of fame and fortune, are constantly in the midst of comedic conflict to see who will remain on top. Under the direction of David Jenkins, Busch's campy brand of depravity was perfectly executed on Jobsite's set. Brian Smallheer's minimalistic set design engages the eye just enough, while allowing the players to retain the audience's attention.

Summer Bohnenkamp (La Condesa), won my heart in past Jobsite productions such as DOG SEES GOD and GOREY STORIES. As always, she is a sheer delight onstage as one half of the eponymous duo; managing to create a fun blend of menacing and cattiness. As her nemesis (Madelaine Astarte), Zachary Hines holds his own among the other Jobsite vets. As part of the cabaret duo, Coco and Homo, Hines seemed at home in his role.

It is my belief J. Elijah Cho can and will do everything at least once in his life. In this case, acting as both cast and musical director, Cho learned how to play the accordion for the show.

There is something about Jamie Jones. I can't explain what sound I expect from him, but I'm always thrown by the thunderous boom of his voice. It's like Doctor Who's Matt Smith petting a kitten and telling you that he was the voice of Scar in The Lion King. I always find the juxtaposition fascinating, and it was no different in this show. His large theatrical presence made funny scenes even sillier, a quality often seen in costar, Spencer Meyers. Meyers always stuns, but increasingly often in heels. Those who saw him in HEDWIG AND THE ANGRY INCH, are aware of his command of the stage through speech and sound. He also provided a stunning series of art for the show, prints of which are available for purchase.

Of special note is Maggie Mularz, whose singing voice is absolutely beautiful. Like the majority of the cast, she plays various characters, all of which allow her show different sides of her comic prowess. Katrina Stevenson, who also designed the costumes, also surprised me with her singing. In my opinion, she was at her best as Etienne. It was a performance that was funny from head to toe; though the head was the best part. When you see it, you'll understand.

VLOS returns to the stage Thursday, November 6 at 8pm. Please note that Friday's performance is a benefit for the Ybor Youth Clinic.

Photo Credit: Crawford Long

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