Review: WHICH WAY TO THE STAGE at Signature Theatre

The summer I was supposed to be writing my thesis, my friend and I saw ten Broadway shows for under $500. We pulled this off through a series of rush tickets, lotteries, and standing room tickets - the latter of which led us to spend more than one summer morning camped out under box office windows. And by that, I mean setting up a nest of blankets and books on the sidewalk under the window at 4:30 am in anticipation of the long lines forming 12 hours before performances of the previous year's Tony winner. We alternated coffee and bathroom runs at the 47th Street and 49th Street Starbucks (the Hilton Garden Inn, though closer, guarded their lobby bathroom like a dragon guards its treasure), and made friends with the other fans who joined us at a more reasonable 6:00 am.

All of this is to say that, while I never do stage doors, I completely understand the sentiment behind the main characters in Which Way to the Stage as they wait for their Broadway idol, Idina Menzel, at the stage door, day after day, in anticipation of finally obtaining her autograph. There's a world in the backstage of Broadway and other theater communities that goes far beyond the stage, and participation in that world is often what separates theater fans from theater fanatics (said as I happily put myself in the second category). That passion, that commitment to not only enjoying theater, but knowing it - knowing performers and rivalries and histories and the sheer amount of work that goes into all of it - is an entity unto itself, and one that often isn't really seen by those who aren't in it. But it's on display in Ana Nogueira's thoughtful and hilarious story of two struggling actors who are desperately trying to catch their favorite Broadway actress one last time before her show closes.

Jeff and Judy are best friends, tracing back to their days at the Boston Conservatory. Although neither is currently working as an actor - Jeff works as a trainer and runs a weekly drag show, while Judy is restarting auditions after leaving acting to become a real estate agent - their love and enjoyment of the art has never waned. Their conversations are peppered with discussions of shows they've seen, the best performers for each role, and bits of songs and quotes. Although huge fans of Menzel, they missed getting her autograph at the stage door after seeing her in her semi-autobiographical musical, If/Then, since she was ill and didn't meet with fans that night, and the announcement of the show's closing has led to the two of them camping out at the stage door during performances, hoping to be the first in line in the event that she works the door that evening. In between their stage door conversations about work, Menzel, and relationships, Judy attends an audition for Avenue Q, where she meets and hits it off with another prospective actor, Mark. Mark joins the pair in their mission, and eagerly attends Jeff's new Menzel-inspired drag performance. But those long hours waiting by the door can take their toll, and adding a new person to the dynamic can have an impact too. Soon, Judy and Jeff aren't just merrily rolling along (sorry, not sorry - there's a Sondheim production next door) - they're also questioning their choices, their identities, and their understanding of each other.

Is it too early in the review to just flat-out say that I love this play? Because I do. I'll spend the next page or so telling you why, but consider this your signal to just go and buy tickets now.

Nogueira's script is sharp and witty, and beautifully balances humor with sincere conversations about gender expression, sexuality, privilege, and societal standards and expectations. The play is peppered with specific references that may go over audience members' heads if they're not in-the-know (including a reference to that same set of Hilton and Starbucks bathrooms I mentioned above), but the nods and easter eggs for theater kids never alienate viewers or outweigh the more universal themes raised through the characters' conversations and interactions. The play contains fantastic discussions about expressions of femininity (both in and out of the drag context), misogyny, navigating grey sexual identities, the line between acceptance and voyeurism, and the complicated social relationships between gay men and straight women. Nogueira weaves a wonderfully detailed picture of theater life in New York, and I absolutely would like a copy of the script because I couldn't write the quotes I loved fast enough. Her dialogue is fun, sincere, and clever, and the result is a fantastic and engaging play.

This is, of course, helped along by the incredible cast and creative team at Signature. Which Way to the Stage is the Signature directorial debut of Associate Artistic Director Ethan Heard, and it certainly indicates his career with the company will be one to watch. Heard's love of the theater echoes in this love letter of play, and the performances he draws out are insightful and honest - it's clear that he and his team deeply connected to the script, and the resulting production is nothing short of magical.

The cast under Heard's direction is equally enchanting. As Judy, Dani Stoller brings a passion and star quality that's balanced and occasionally dimmed by the character's doubts and timidity - watching Judy struggle with her self-confidence, despite her clear talent, is a hauntingly familiar experience. Stoller connects beautifully as she shows this more vulnerable side, and makes the audience root for those flashes of brilliance we see as the show progresses (though I'm still a little disappointed we didn't get to hear her Spamalotaudition). Mike Millan's Jeff owns his star quality right from the start, but even with that expectation his drag performance is beyond incredible. But it's the character's quieter moments where Millan really shines - his conversation about navigating a theatrical world created by people like him but not quite for him is touching, and his unembellished duet with Michael Tocconi's Mark is one of the highest points in a production full of praise-worthy moments. Tocconi handles his own character with equal skill, giving Mark a chameleon-like ability to make himself likeable in any situation through a slick assuredness and a hint of vulnerability. In fact, he succeeds in making the character so enchanting that even the audience is enamored with him long after his true colors are on display. Rounding out the cast is Nina-Sophia Pacheco, who plays a rival actress, as well as a bride-to-be at Jeff's drag show and an assistant at the auditions. Her ability to so fully take on each character is delightful, but it's her scenes as the actress where she really shines. Her mannerisms are entertaining, but take on an entirely different meaning after her second conversation with Judy - Pacheco's ability to convey two vastly different meanings in her performance is stunningly powerful, and her scene with Stoller ranks right up there with the men's Sunday in the Park with George duet as a standout moment.

Indeed, while each actor is incredibly talented and has their moments to shine, the chemistry among the cast is undeniably a huge part of the appeal of this production. Jeff and Judy's friendship is the heart of the show, and the crackling banter, frustration, and joy shared between Millan and Stoller conveys it all beautifully. Another standout moment in the show is when the two practice Judy's audition number together, a moment just so fun and engaging, it's easy to forget there's anything else going on. The whole company works so seamlessly well together, and play off each other so perfectly, the resulting onstage alchemy throughout the whole production is utterly brilliant.

Brilliant also applies to the creative team behind the scenes. Ashleigh King's delightful choreography elevated the drag shows and the aforementioned audition practice. Angie Benson's work as Music Director effortlessly wove in the cast's musical talents, and I was incredibly impressed by the effects UptownWorks managed with their sound design in this area as well. The set, created by Richard Ouellette, was spot-on and nicely versatile, including the review from the local Long Island paper, Newsday, on the stage door and the attention to details in the audition hall, from the mismatched chairs to the awkward coloring to the overfilled bulletin board. Though, it's impossible to mention the set and not specifically gush about the little cabaret tables in the front row, the inclusive pride flags on the walls, and the fabulous rainbow-lit posters of icons ranging from Barbra Streisand to Audra McDonald. This rainbow lighting, as well as other fun tricks, came courtesy of Jesse Belsky. As is vital for any drag performance, Ali Pohanka provided excellent wings to the cast. And, of course, I need to sing out all the praises for costume designer Frank Labovitz, who not only sewed sequins to Jeff's overcoat and mimicked Menzel's famous costume as Maureen Johnson in Rent, but also managed to create an incredible dress featuring vagina sleeves with pearl details. I almost didn't want to ruin the reveal, because they are impressive, but they're so wonderfully fitting, it would be a crime to leave them unacknowledged.

Which Way to the Stage is a love letter - to New York, to the theater world, and to friendship. It's entertaining and engaging, thoughtful and packed with talent. It's an incredible experience, made for all of us theater fanatics - and for anyone who just wants to have a wonderful time.

Want a sneak peek? Check out the trailer!

Which Way to the Stage is playing at the Signature Theatre through January 22nd. This show is recommended for mature teens and adults, and uses some derogatory language as well as theatrical haze. Tickets and information about specialty discussions, Pride Night, and Signature masking policies can be found on the Signature website. Performance run time is approximately two hours with no intermission.