Displaying items by tag: Octavio Montes de Oca

I WANNA BE A COWBOY is a song by Boys Don’t Cry (lovin’ that band name!).  MY LIFE AS A COWBOY is a play by Hugo Timbrell playing its American premiere at Open Space Arts Theatre. Yippee yo ky yay! and similar assertions of glee and approval!

Art is intersectional, and Timbrell’s wonderful queer coming-of-age comedy is indeed about I Wanna Be a cowboy, or a musician, or a dancer – anything other than what I am right now.  We can all relate to the longing of Conor (Octavio Montes De Oca), a queer, somewhat dweeby 17-year-old boy, to escape the constraints of his small South London town of Croyden.

Momina Shahzad is terrific as Conor’s bestie Zainab, a whirling collage of Muslim prickliness, uncompromising opinions, multi-faceted creativity, and affection for Conor. Oh, and she vehemently dislikes cats, but she’s so appealing that I – yes, even I! – can forgive her that. Much of the action occurs in Conor’s bedroom where, despite meagre space for dancing, Zainab proposes not only to create original choreography but perform it beside Conor at the Croyden Talent Show.

Cut to the town swimming pool where Conor works as a lifeguard, blowing his whistle at illicit diving, spontaneous nudity, and peeing in the pool. He’s a zealous lifeguard, even under skitting from his co-worker Michael (Ben Chalex), who calls Conor’s keenness ‘weird’. Despite this Conor poignantly persists in trying to connect with him.

Actually, Michael describes as ‘weird’ anything beyond the bounds of his limited (not to say jingoistic) experience. In his defense, he scrupulously corrals his taunting within the bounds of cheekiness without straying into frank homophobia, allowing us to see Michael as nowt worse than a provoking bloke. We’re even more endeared when he admits to a secret dream of his own and is willing to challenge his own bloody-mindedness in pursuit of that dream.

De Oca skillfully portrays the courage required for Conor to tell Michael of his plans to enter the Croyden Talent Show as a country-western dancer. Michael rewards Conor’s courage by disclosing that he is himself a musician and in no time, they find they’re a team: Conor will dance to Michael’s original composition, Ballad of the Lifeguards. [BTW, I was having repeated flashbacks to a certain San Francisco bar that hosted gay line dancing – an unforgettable spectacle].

It’s all aces until Conor collides with his commitment to Zainab, who misfortunately hates men. The result is predictable: Zainab is majorly brassed off, which exacerbates Michael’s performance anxiety, and poor Conor, whose idea this was in the first place! may be left with neither musical accompaniment, a dance partner, nor even friends.

Hugo Timbrell keeps everyone’s trousers zipped and lets the characters tell the story of trust, courage, friendship, and discovery. The result is hysterically funny. I don’t normally much cotton to comedies, finding too many of them tasteless, coarse, offensive, and decidedly not funny. But have you ever heard a television laugh track?  I much prefer nails on chalkboard or elevator muzik over a television laugh track, but it gave me an important insight. Comedy may be the most difficult role for an actor to play, and only when the actor(s) is (are) exceptionally skilled is the result actually funny. And sitcoms are not known for employing exceptionally skilled actors [Robin Williams being the exception that proves the rule]. But here Hugo Tumbrill wrote a masterly script, the 3 actors were amazing, the entire creative team was brilliant, and MY LIFE AS A COWBOY was very, very funny. Oh! and I nearly forgot another essential ingredient for successful comedy: occasional aliquots of sorrow. DeOca’s depiction of Conor’s grief as his friends dropped away made my throat tighten.

And how ‘bout that brilliant creative team? Top billing must, IMHO, go to Director David Zak. In his artisanal hands the performance was tender, truthful and uproariously funny – even to the likes of me! David Zak has been a beacon in Chicago LGBTQ+ theatre for >30 years so it’s axiomatic that Open Space Arts has thrived under his furtherance.

Bravo Jade Andrews’ costume design! All three leather jackets were masterworks, and I nearly swooned at those boots!! Choreographer Kevin Chlapecka created a perfect dance for Zainab’s. Devin Meseke created just the sort of spare and accommodating set OSA’s teensy proportions requires; the wardrobe/closet was a triumph, allowing Conor’s frequent costume changes to occur onstage under Ethan Brentlinger’s accommodating lights. Zach Stinett molded a great mélange of the numerous scene-defining sounds. And as for Stage Manager Eliza Tryon, assisted by Baneet Chawla … years ago I naïvely asked a more knowledgeable friend, “what does a stage manager actually do?” their reply: “Everything.” Yup.

You gotta see MY LIFE AS A COWBOY! It’s brilliant, thought-provoking family fun. In fact, here’s a notion: this would the perfect introduction to ‘The Gay World’, one even your great-aunt Margaret from Omaha could both enjoy and understand. It is, after all, not actually about ‘The Gay World’ [don’t tell great-aunt Margaret], but simply about the complexities of human beings getting along with other human beings. Even great-aunt Margaret can’t be too scandalized by the notion that queers are human beings.

The show closed with a delightful lagniappe: a Q&A with all three actors and David Zak describing their personal journeys with MY LIFE AS A COWBOY – this is when I learned the first rehearsal was January 9. No surprise that Zak needed only 17 days for creation – Jehovah himself required but 7 for the whole megillah.

This American premiere of MY LIFE AS A COWBOY plays through February 8 at Open Space Arts Theater. Get your tickets early: OSA seats only $25!

VERY Highly Recommended!

*Extended through March 1st