In the same year that Fairy Tales premiered in Chicago (1995) I began my work directing The Windy City Slickers, a men's octet. There I found a whole new audience upon which to unleash new songs. In the five years I worked for Windy City Performing Arts I wrote dozens of songs for the Slickers, having a chance to shape and hew the songs over many repeated performances. In 2000 I was lured away from Chicago by the siren song of Seattle Men's Chorus where I was hired as assistant artistic director. By March I had formed Captain Smartypants, a vocal comedy octet for whom I began to write new songs. When asked to describe Captain Smartypants I usually say, 'we do vocal comedy,' to which people sometimes ask, 'you mean musical comedy?' to which I reply, 'well, no, not as in Oklahoma. More like Kids in the Hall meet The Doobie Brothers.' If you add in a bit of Capitol Steps a dash of The Bobs and a generous splash of Bette Midler, you'll begin to get the flavor of Captain Smartypants. This is the kind of tone you'll find in most of the songs in Fruit Cocktail: more pop than cabaret, more cabaret than musical theater, but comedy all the way.
I find the most enjoyable sort of comedy that which is presented dead-on, with no indicating, no explanation, with its feet set firmly in reality. Take, for instance, the song Available. At its heart, Available is a sad song: man in love with someone he simply can't have. But the song takes on a comic level as we watch the soloist go to absurd lengths to win affection. We can both empathize with this poor fellow and laugh at ourselves as we remember all the embarrassing things we have done in order to try to win someone's approval. The more seriously the song is presented, the funnier it ultimately can be.
But then there are times when too much is not enough. In Drama Queen, the cast bewails everything that has happened since the moment of birth, hysteria mounting until the final Straussian assertion that drama queens rule the world. This number was helped greatly by footlights when Captain Smartypants performed it at the Kirkland Performance Center as part of their Song and Pants tour in 2001. Huge shadows looming behind them as their faces contorted in agony singing: 'Now as an adult I find it isn't difficult to turn the smallest thing into a huge ordeal/Everything's a splendid chance for me to be offended. I'm more dramatic than Eugene O'Neill...'
Are these songs autobiographical? I think every song is, in a way. I try to adhere to a simple rule: laugh at myself first. It has served me well in these trying times.
-- ELB March 1, 2003
(from the Houston Press)
With a title like Fruit Cocktail, it's pretty obvious what Eric Lane Barnes's musical revue is about. But just in case you're in the dark when you sit down at Theatre New West, the opening song about drama queens will set you, er, straight.
Barnes's funny, tuneful take on gay life covers lots of familiar territory. "Available," sung with great flaming joy by Chris Pool, is about a drag queen who fawns over a man who treats him badly. Buzz Bellmont and David Barron sing "It's All in Your Mind," which, according to the song, is where great sex comes from. And the entire cast struts its stuff in "Vitamin Q," a sort of anthem to the power of living gay.
But Barnes does more here than tell the same old stories. The inventive songwriter also skewers unexpected aspects of pop culture with the same tenderly ironic take. "Three Little Words" lampoons the tired phrases -- "You go, girl!" and "Oh, my God!" and "Like, no way!" -- uttered by everyone from schoolgirls to Oprah. One of the best numbers, "Arkansas," starts out sounding like an ordinary ballad: "Have you ever been to Arkansas?" But then it makes a sharp turn into left field with lines like "Have you ever made an omelette wearing John Ashcroft's panties?"
There are many more odd musical moments throughout the show; one involves a sing-along in which pianist Michael Harren manages to coax the audience into warbling, "I've got underwear a plenty in my underwear drawer." The whimsy of these moments is impossible to resist.
Joe Watts takes a laissez-faire approach in directing this show, and there isn't much in the way of set or lighting in the makeshift theater. But the cast sings well -- Braden Hunt and Pool, especially. And Barnes's oddball songs are nothing if not entertaining.
houstonpress.com | originally published: February 27, 2003
(from OUTSMART February, 2003 Issue)
Out in the Arts:
by D. L. Groover
Fruit Cocktail.
Just when you despair that nobody is writing good musical revues anymore, along comes Eric Lane Barnes's world premiere to dispel the clouds and bring needed sunshine into this forgotten art form. Not since his last musical outing, the gay-life affirming Fairy Tales, has anyone been able to pull it off.
With Fruit Cocktail, Barnes does so with the dexterity of Gypsy Rose Lee. There is no story here, just a wonderful romp through a musical trunk of songs, some gay, some not, some inconsequential, some with bite, whatever Barnes feels like writing a song about. He uses artistry, talent, wit, melodies you can actually remember, and the right amount of gay pepper for spice.
Abetted by musical director Michael Harren, five very fine performers (with a sixth added in subsequent performances) do more than justice to the pastiche numbers, which range from tricky doo-wop '50s a cappella harmonies, lilting ballads, and funky tangos, to a Flo Ziegfeld production number parody with twirling parasols. Braden Hunt and Chris Pool have the best voices and stage presence, but when all the guys blend their voices in the stirring anthem "Welcome Home," or the beguiling "Waltz for Teddy," who's complaining?
Staged with loving care by Joe Watts, each number is a little show in itself. You don't want it to end, something you don't often wish for in live theater. Take a great big bite out of Barnes's tuneful compote and savor its textures and tastes. It's delicious and good for you, too.
FRUIT COCKTAIL is tasty
by Don Moser
I wish I were a better writer. My vocabulary is so limited and becomes so painfully evident when I see a production such as Theatre New West's FRUIT COCKTAIL. I just can't find enough words for "enjoyable" or "fun" or "poignant" or "creative". So please discount my lack of talent and try to read between the lines.
I don't know Eric Lane Barnes, but I'm hopeful that he resides in Houston. As the lyricist and composer for the twenty or so songs in this revue of gay life, Eric's talent is without a doubt world class. Although I have attended only a few musicals in New York, I can assure you that this Houston revue surpassed them all. Artistic Director Joe Watts and Musical Director Michael Harren have a lot of which to be proud; they have staged a two-hour musical production that had partons leaving their theater humming the tunes and laughing with the lyrics.
Let me mention first of all the cast: David Barron, Buzz Bellmont, Gary Lyons, Braden Hunt, Mike Lovell, and Chris Pool. Their selection was inspired; their voices blended so well on all the numbers perfomed by the cast as a whole. With about 20 songs, FRUIT COCKTAIL has enormous opportunity for individual talents to shine, but I particularly liked the harmonies in the fall cast performances. From bass to high tenor, the numbers, many sung a cappella, were irresistible to total enjoyment. Moreover, given a minimal set and runways that extended into the seating, they had to perform on the strength of their voices and the appeal of the tunes alone. Never did I tire of hearing their next number.
I did my best to take notes, since there were so many songs to enjoy,
but I was able to distill a few more words for your consideration: "clever," "camp," "drag," "soulful" and "celebration". There were numbers that used twirling parasols with ears ("We Wish You Pansies") to ballads that beautifully lamented the war-minded ("Goodbye GI Joe"). There were the hilarious "Drama Queen" and the rocking "It's All in Your Mind," as well as the doo-wop ballad "Sunday" and the drag recital of "Available". Truly, the variety of musical styles, the associated choreography and the executions were so creative that I left marveling at such real and substantial talent.
Finally, I have to mention my favorites. I thought Chris Pool's performance of "Available" to be truly inspired. Also, I thought "Vitamin Q" to be the essence of the production, the inspiration behind all concerned. And then "Welcome Home" was a strong finishing anthem to this celebration of a gay lifestyle. With so many wonderful singers and songs, you will without a doubt find several favorites in this joyful production. FRUIT COCKTAIL is great stuff, as my limited vocabulary but heartfet appreciation must attest. Be sure to see it.