Labor Day play with ‘Songs from an Unmade Bed’ at Theatre Three

Art imitates life (sorta) in Theatre Three’s musical love triangle  ‘Songs from an Unmade Bed’

The chamber musical Songs from an Unmade Bed was written as a song cycle to be sung by one gay male character. But when Terry Dobson — the musical maven at Theatre Three as well as an occasional director, actor and playwright there — heard it, he couldn’t get an idea out of his head: That the musical made more sense if it was performed not from one point of view, but from three.

“I read the reviews from when it came out, and many mentioned that it lacked theatricality,” Dobson says. And he knew how to make it more theatrical: Turn it into a love triangle between a bisexual man and his two lovers: a straight woman and a gay man. Call it Sunday Bloody Sunday (in the Park with George). The result promises to be one of the edgier queercentric productions of the fall.

DEETS: Theatre Three’s Theatre Too,  2800 Routh Street, Suite 168. Sep. 3–Oct. 3. $20.
Theatre3Dallas.com.

—  Rich Lopez

Bed time story

Art imitates life (sorta) in Theatre Three’s musical love triangle  ‘Songs from an Unmade Bed’

ARNOLD WAYNE JONES  | Life+Style Editor jones@dallasvoice.com

THREE’S COMPANY | Gary Floyd, center, straddles the fence between his two lovers played by Patty Breckenridge and Christopher Wagley. (Photo by Ken Birdsell)

UNMADE BED
Theatre Three’s Theatre Too,  2800 Routh Street, Suite 168. Sep. 3–Oct. 3. $20.
Theatre3Dallas.com.

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The chamber musical Songs from an Unmade Bed was written as a song cycle to be sung by one gay male character. But when Terry Dobson — the musical maven at Theatre Three as well as an occasional director, actor and playwright there — heard it, he couldn’t get an idea out of his head: That the musical made more sense if it was performed not from one point of view, but from three.

“I read the reviews from when it came out, and many mentioned that it lacked theatricality,” Dobson says. And he knew how to make it more theatrical: Turn it into a love triangle between a bisexual man and his two lovers: a straight woman and a gay man. Call it Sunday Bloody Sunday (in the Park with George). The result promises to be one of the edgier queercentric productions of the fall.

Dobson employed an informal audition process, seeking out people he wanted to work with who would combine musically and emotionally in sync with his conception of the show. And in a weird instance of art imitating life, the cast of three includes two old friends and a newcomer, all of whom are gay.

Dobson jokes that several local actors who lobbied for the plum role of the bisexual will be gunning for Gary Floyd, but few would argue with the wisdom of his casting. Floyd was already a popular and admired singer and recording artist for decades before he tackled his first acting role in 2003’s Pump Boys and Dinettes, and he fast became a go-to guy for musical roles.

Floyd met Patty Breckenridge in 2006 in what became her breakout role in Aida at Uptown Players. The next fall, they teamed up again for City of Angels at the Flower Mound Performing Arts Theatre, but this is the first onstage pairing since then for the close friends.

“It’s about time!” Floyd laughs.

“I kinda dropped out of theater for a while, just enjoying married life,” says Breckenridge, who married her wife Carrie Anne last year (the couple are currently expecting a baby in the spring). “But I was getting that itch to go back onstage. Then Terry called me and said, ‘I want to head in a different direction with this.’”

Breckenridge was onboard.

If there was an intimidation factor being odd-man out, Christopher Wagley doesn’t show it — or at least, he can use it to get into his character. Stepping into the chummy twosome has been easy for the newcomer to Dallas in his first show here.

Wagley spent 12 years in New York, acting and waiting tables early on (“I loved being an actor but hated being a waiter” he says), before moving to Dallas last year. Within a month, he was singing with the Turtle Creek Chorale’s Encore! group, which Dobson leads.

“There has been no issue at all,” Wagley says. “The fact we blend together so well musically is a byproduct of getting along together so well.”

Musically, they all related to the show, written by lyricist Mark Campbell with a score contributed by 18 different composers, including Jake Heggie, the gay musician who wrote the world premiere adaptation of Moby-Dick for the Dallas Opera this year.

“The lyrics are so universal, it could be a straight woman or a gay man or a bisexual,” Floyd says. Wagley agrees.

“The lyrics are so smart and absolutely universal, yet so incredibly specific to a gay man’s experience, whether it’s body issues or casual sex,” he says. Although Dobson had assigned all the songs to the cast, many tweaks have occurred during the rehearsal period.

“The other day, Terry asked me to sing one of the songs about not having a great body to myself [in a mirror] instead of to Gary — wow! It makes it so much more personal. We all have those moments.”

“I had heard of the musical from [my best friend, actor] Donald Fowler but hadn’t listened to any of the songs,” says Breckenridge. But she immediately became enchanted by it. “I have a couple of favorite songs. Everyone in the audience is going to relate to ‘Oh, To Be Stupid Again.’ I know I’ve been there. And ‘To Sing’ is why I became a performer.”

A lot happens in a quick one-hour show performed without intermission. “There are lots of poignant moments,” says Wagley.

None more poignant for the two old friends than one scene where Floyd has to simulate oral stimulation of Breckenridge.

“There’s no other woman in Dallas I would do that for!” Floyd avers.

“And there is no other man in town I’d do this with!” quips Breckenridge.

This article appeared in the Dallas Voice print edition September 3, 2010.

—  Michael Stephens

Applause • That’s so gay

Queer connections infiltrate lots of the upcoming season of arts

Tony Award-winning gay baritone Paulo Szot
Tony Award-winning gay baritone Paulo Szot, above, is a coup for the Dallas Opera; Pink Martini, below, gets the Meyerson jumping as the Dallas Symphony Orchestra’s guest next week.

When you have a gay theater company (as Dallas does in Uptown Players) and another troupe dedicated to bringing Broadway musicals to town (as Dallas Summer Musicals does), you can be pretty confident in finding gay appeal in the lively arts.

But cast your gaze — and your gays — outside the usual focus, and there a lot more to discover across the arts in North Texas this season.

Chief among the highlights: The Dallas Opera’s coup in snagging dreamy gay baritone Paulo Szot, who won a much-deserved Tony for the revival of South Pacific, in the title role in Mozart’s Don Giovanni (Oct. 22). Director Stephen Lawless returns to helm Anna Bolena (Oct. 29). DallasOpera.org.

Of course, Uptown Players and DSM are getting into the action with their upcoming shows as well. UP’s final production of their 2010 season is the American premiere of Closer to Heaven, written to the songs of the Pet Shop Boys. The musical drama opens Oct. 1 at the Kalita Humphreys Theater. The group will announce its 2011 season on Tuesday. UptownPlayers.org. And DSM’s national tour of Shrek is the State Fair Musical this year, opening Sept. 28. DallasSummerMusicals.org.

Next week, Theatre Three produces the local premiere of Songs from an Unmade Bed, a song cycle about a gay man working his way through a relationship. In previews from Sept. 3 in the Theatre Too space. Also in Theatre Too: Bruce R. Coleman’s latest play, the puppet show Tales from Mount Olympus, and spring welcomes Why Torture Is Wrong, and the People Who Love Them by Christopher Durang. Next up on the main stage is Laramie Project creator Moises Kaufman’s 33 Variations, followed in December by the local premiere of The Drowsy Chaperone. Theatre3Dallas.com.

Contemporary Theatre of Dallas continues its presentation of Ed Graczyk’s world premiere Texas-set comedy-drama with a gay twist, Blue Moon Dancing, which runs through Sept. 12. Its 2010–11 season kicks off in October, and includes plays directed by Rene Moreno (The Trip to Bountiful) and Michael Serrecchia (Cheaters), plus a play by gay playwright Alan Ball (Five Women Wearing the Same Dress). ContemporaryTheatreofDallas.com.

The Dallas Theater Center launches its new season next month with the company’s gay artistic director Kevin Moriarty’s adaptation of Henry IV (opens Sept. 11).  The season ends with the musicals Cabaret and The Wiz. DallasTheaterCenter.org.

WaterTower Theatre begins its season with its artistic director, Terry Martin, directing and starring in Our Town (previewing on Sept. 24), and closes the season with Howard Ashman’s camptastic Little Shop of Horrors in July. WaterTowerTheatre.org.

Pink Martini
Pink Martini

Bass Hall brings in Spring Awakening on Nov. 9–10, followed by Mamma Mia, A Chorus Line, Beauty and the Beast and 9 to 5 later in the season. BassHall.org. In Dallas, the Lexus Broadway Series includes Young Frankenstein (Jan. 4) and Billy Elliot (June 8), while TITAS starts with MOMIX (Sept. 10) and the return of Complexions Contemporary Ballet (May 11). ATTPAC.org. The Dallas Black Dance Theatre stages a dance by local legend Bruce Wood in the spring as well (see story Page S6).

It’s not just opera and theater that goes gay, either: The Dallas Symphony Orchestra welcomes queer-led bank Pink Martini on Sept. 3, and The Music of Michael Jackson starts Sept. 1. DallasSymphony.org.

Arnold Wayne Jones

This article appeared in the Dallas Voice print edition August 27, 2010

—  Kevin Thomas