By: Darryl Reilly
“…Don’t get me wrong, the 50’s were good to me; I’m glad I made it to the swinging 60’s!” So, quips that legendary transgender trailblazer during the preamble to author Donald Steven Olson’s zesty play with music, The Christine Jorgensen Show. Mr. Olson’s smart, well-structured treatment is a knowing inside show business saga characterized by delightful old-time Warner Brothers-style crisp dialogue (“The light from your halo is blinding me.”), an absorbing simple plot, and two fabulous roles. It has been given a snappy, small-scale production.
Christine Jorgensen (1926-1989) was born George William Jorgensen Jr. to Danish parents and raised in the Bronx. After discharge from the U.S. Army following W.W. II, Jorgensen began taking estrogen due to his trans identity beliefs. From 1951 to 1952, be underwent surgeries in Denmark and the U.S. to physically transition as female. The New York Daily News learned of this; their December 1, 1952, headline was “Ex-GI Becomes Blonde Beauty.” Jorgensen became a celebrity but without a livelihood. She was named Woman of the Year by the Greater New York Danish Society and was celebrated at a gala dinner, the next year.
Olson imparts just enough biographical details for his contained, factual 1953-set scenario. After Jorgensen’s poorly received Los Angeles theatrical exhibition where she narrated a filmed Danish travelogue, her agent sends her to New York City to consult with the highly talented never was, Myles Bell. He is an irascible aging singer, songwriter and musical savant. The goal is to create a nightclub act for Jorgensen who has never publicly sang; combativeness and camaraderie ensue amidst nips of bourbon. With Gypsy-style flair this all suspensefully spins out; will Christine Jorgensen actually go through with her Pittsburgh singing debut, and will she triumph? Hmmm.
The sleek and luminous Jesse James Keitel is captivating as Jorgensen. With her throaty, steady vocal delivery and conveying pathos, Ms. Keitel poignantly evokes the essence of Jorgensen; she also sings and dances with Café Society verve. Performing arts virtuoso Mark Nadler is a whirlwind as Bell. Mr. Nadler sings, tap dances solo, plays piano and wisecracks, all with old-time show business brio. His good-hearted curmudgeon at times recalls the persona of Jimmy Durante; he even does a brief accurate Durante impression. Keitel and Nadler’s palpable rapport puts the show over. Musical director Nadler co-composed The Christine Jorgensen Show’s peppy original songs with lyricist Olson.
(Photo credit: Joan Marcus)
Director Michael Barakiva’s fast-paced physical staging is reminiscent of classic movie musicals, 1950’s television specials and accounts of glamourous nightclub appearances of the past. That quality is enforced by Banji Aborisade’s euphoric choreography. Scenic designer Riw Rakkulchon’s artful, spare configuration of vintage furnishings cleverly depicts Bell’s studio, and later with catchy stagecraft an opulent Pittsburgh venue. Calvin Anderson’s masterful lighting design gorgeously achieves a yesteryear sheen. With punchy blackouts, Mr. Anderson creates a sly Golden Age of Hollywood-style montage sequence of time passing as Jorgensen’s singing prowess increases during several lessons with Bell. Sound designer Jacqui Herter richly realizes the musical sequences and effects. Suzanne Chesney’s on point costume design includes grand frocks and gowns for Jorgensen, and snazzy attire for Bell.
The Christine Jorgensen Show is an enchanting, nostalgic entertainment.
The Christine Jorgensen Show (through November 17, 2024)
ADH Theatricals
HERE Arts Center, 145 6th Avenue, in Manhattan
For tickets, visit www.here.org
Running time: 90 minutes with no intermission