Overall, Everything is Okay (and other helpful lies) is an energetic, youthful production which is often farcical and at times touching. Although this was officially the world premiere of the play, the level of development of this production came off more as a workshop performance than a polished piece. The set is simple yet impressive and holds an unbelievable amount of liquor bottles which makes one wonder who was responsible for draining them. The beer and wine you can purchase in the lobby as well as get for free if you sit in the front row adds another dimension to the experience as the characters in the play are drinking heavily throughout the performance. The production starts off strong with its opening number introducing hints of developed characters and setting a cynical tone with a devil-may-care attitude towards some potentially serious subject matter.
In addition to introducing a character named Steve, the Beckett-esque figure on whom all await, the play begins with a eulogy for Keno’s father whom we quickly find out was abusive. This glimpse of vulnerability adds a layer to Keno’s character development and foreshadows her actions later in the play. From there we enter the world of a group of five (technically six) millennials consumed by alcohol as an escape from their various relatable flaws. The daddy issues of Keno and Pablo, the closeted homosexuality of Jackson, the need of Blazer to fix everyone, and the just plain need of Willow are all heavily poured onto the stage and shaken into a palatable and humorous cocktail with a chaser of self-loathing.
Although there is some action that takes place on stage, the vast majority of subject matter in Everything is Okay (and other helpful lies) is presented as hearsay. I found myself wanting to see some of the events that affect the characters rather than the aftermath of them. Act II begins as Act I did, with a eulogy; this time for the absent character of Steve. The audience is asked to switch gears from zany to personal as Blazer mourns her enigmatic dead boyfriend. It is a tall order to ask an audience to be invested in a character to whom they have never been introduced. This investment was further dampened by the characters singing their subtext loud and clear for all to hear. The play culminates with the characters being confronted with the reality of their lives as they transition from the irresponsibility of youth to the weight of adulthood. The raunchy tongue-in-cheek comedic moments very often transition awkwardly into more serious and personal subject matters, occasionally derailing the plays momentum.
I was impressed by the quality of the singing, in particular Madelyn Hayes as Blazer whose nuanced and developed singing voice was on full display. The ensemble numbers were polished and well performed. The musical arrangement was quite commendable as well.
While the writing itself showed promise and the mere act of writing a play, let alone a full-length musical is a feat that few in this world accomplish there was an air of nascency to this production. The best of theatre is thought provoking, leaving its audience with a certain amount of interpretation to perform and thus self-reflection to experience. I left the production of Everything is Okay (and other helpful lies) wanting more and wanting less.
