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Brittney Peters and Maxx Carlisle-King
photo by John Groseclose |
by Gil Benbrook
There have been numerous documentaries, news stories, plays, books and TV shows that attempt to demystify the mystique of the Church of Scientology but I can't imagine any of them are as entertaining as A Very Merry Unauthorized Children's Scientology Pageant. This one hour play with music, that features a cast entirely of youth performers, received winning reviews when it played Off Broadway in 2003. Subsequent regional productions were also acclaimed and when Stray Cat Theatre presented the show in Phoenix in 2008 it became, as Stray Cat Artistic Director Ron May stated, "the stuff of legend for us. If you saw it, you’ve likely asked if we’re ever bringing it back. If you didn’t see it...you’ve likely asked if we’re ever bringing it back."
Fortuantely, for anyone who missed it, or saw it and wants to view it again, Stray Cat started streaming an archive video of their production on Thanksgiving, with five chances remaining to watch the show this Thursday through Sunday, December 3 to 6. It's a silly, insane and absolutely delightful satirical musical revue, with a very talented cast of young performers and smart direction, that is also strangely poignant. It makes for a fun holiday treat and a perfect way to kick off the season.
A Very Merry Unauthorized Children's Scientology Pageant is presented exactly how the title of the show states, as a children's holiday pageant that tells the story of the birth of Scientology similar to the story of the birth of Jesus. Through a series of vignettes, four songs, some moments of dance and even a puppet show, it tells the story of Scientology founder L. Ron Hubbard, from his birth (in a manger, naturally) to how Scientology became a religion and the after effects of the lawsuit that threatened to take away the Church's tax exempt status.
Over the course of the hour long production, author Kyle Jarrow documents how Hubbard came up with the idea for starting a religion, strangely enough when he was serving in WWII and adrift on a boat in the Pacific, to how Scientology uses a device called the E-meter and individuals called Auditors to rid the chuch members of negative influences from their past behaviors and events in their lives. Famous Scientologists including John Travolta, Tom Cruise and Kirstie Alley make brief appearances, as does the alien Xenu, whose story, allegedely, is only known to the most devout of the congregation.
Kyle Jarrow's script is appropriately satricial, but never truly tongue in cheek, and sly, but never truly silly, and presents the history of Hubbard and scientology in a fairly straight forward presentation, all of which works well to make this into a successful satire. While there are only four main songs in the show, Jarrow's compositions are instantly memorable with musical hooks that will stick with you. Don't be suprised if you find yourself humming the opening number, "Hey! It's a Happy Day!," days after you watch this production.
Under Gary Minyard's spotless direction, the talented Stray Cat cast shine and shine brightly. While it's mainly an ensemble production with the majority of the cast playing multiple parts, large and small, Brittney Peters and Maxx Carlisle-King get the biggest roles to play, as the Angel that narrates the story and Hubbard, respectively, and each proves themselves to be incredibly up to the challenge. Peters' energetic delivery is quite hilarious and Carlisle-King's solid portrayal of Hubbard is both serious and heartfelt and his singing voice shines. The remainder of the cast have the appropriate delivery for a show like this to make this a winner with each demonstrating good comic timing and bright performances.
While the story of Hubbard and Scientology is one many are familiar with, A Very Merry Unauthorized Children's Scientology Pageant presents Hubbard's story in hilarious fashion. With numerous jokes and sight gags, Jarrow has crafted a funny play, although the ending is somewhat abrupt. Fortunately, there is a musical coda during the curtain call that makes for a quite hopeful, satisfying and strangely uplifting conclusion. It's a perfect end to a practically perfect production.
