By: Darryl Reilly
“I want to suck the garbageman’s dick” is among the many choice rejoinders grandly delivered by virtuoso comedian Morgan Bassichis during their hilarious, ferocious, and moving, self-written solo show Can I Be Frank? The context of that above quote is a child’s response to his mother when asked about his feelings for girls.
Can I Be Frank? is a euphoric 70-minute recitation of Bassichis’ biting observations conjoined with their passionate tribute to the out gay performance artist Frank Maya who died of AIDS in 1995 at the age of 45. Maya emerged as an acclaimed comic and singer songwriter on the vibrant 1980’s Manhattan Downtown arts scene. He was poised for mainstream success before his death which came just before the advent of life-saving drugs. The fiery Maya was an ACT UP member, so there is the tragic dimension that he did not personally benefit from his activism.
The profound achievement of Can I Be Frank? is its dynamic of a contemporary queer artiste reclaiming a forbearer’s existence from obscurity. Adding a time capsule-style quality to the show is that it is performed in front of designer Eli Harrison’s recreation of Maya’s yellow backdrop curtain with the image of a large life preserver.
Dressed in Maya’s fashion of all-black, the lean and energetic Bassichis supremely holds forth as themself and as Maya. Bassichis’ quirkily handsome facial features are perpetually animated, and their melodious voice exhibits seasoned comic timing,whether spouting at a rapid-fire pace or slowly caressing words. Bassichis’ jaunty patter is marked by expert stares and perfect pauses and hesitations before delivering killer punch lines.
While pondering this show’s streaming potential and the possibility of their winning a Tony Award, Bassichis wickedly at times emulates Martin Short’s snarky show business insider persona particularly in a delightful bit where they go through the audience handing members index cards with mock sincere questions to ask them. Bassichis puts their own spin on Maya’s routine of reading fake letters from dead celebrities by describing Bette Davis as “a famous furniture designer,” Fred MacMurray as “a Senator,” and Greta Garbo “She was in Frances Ha,” as they get lots of mileage out of the sight gag of clumsily cutting open the envelopes with a large pair of scissors.
“You’re like my brother, Frank Maya” a man said several years ago to Bassichis who was attending a Sag Harbor artists residency. They were unfamiliar with Maya and found clips of him on YouTube and became fascinated. Bassichis’ inventive concept is that they spend most of the time being their personable self and strategically switching back and forth as Maya for dramatic effect. The show is a personal exploration as well, Bassichis interviewed several of Maya’s male lovers known as “Maya wives.”
The beautifully enacted 1987 Maya material includes a rant against the closeted gay Liberace who was dying of AIDS, a soaring treatise on disappointments of gay dating in the East Village, and two edgy songs. Bassichis’ titanic performance combined with their impeccable curation proves that Maya was very funny, perceptive, and the timelessness of his work.
(Photo credit: Emilio Madrid)
Oh, Mary! director Sam Pinkleton’s exhilarating physical staging is in whirlwind mode as he has Bassichis in constant motion all over the space, including behind it for an eerie shadow sequence, and in the Soho Playhouse’s auditorium. This visual kineticism complements and realizes the piece’s intentions. Oona Curley’s spare production design includes a set of steps on wheels and a microphone on a long stand with a long cord that comically becomes tangled, which all get heavy usage. The lighting veers from stark brightness to atmospheric dimness and is punctuated by bold blackouts. The composer and sound designer Natasha Jean Jacobs marvelously recreates Maya’s music. Stage manager Gloria Gomez efficiently oversaw the performance under review and was an unseen cohort in the mirth as Bassichis frequently called out to her, “Gloria, can we start that again?” Meta flourishes abound.
Can I Be Frank? triumphs as a showcase for Morgan Bassichis’ tremendous talent and as an inspired commemoration of Frank Maya.
Can I Be Frank? (through September 14, 2025)
Soho Playhouse, 15 Vandam Street, in Manhattan
For tickets, visit www.sohoplayhouse.com
Running time: 70 minutes with no intermission