by Les Spindle
Drama-Logue
November 26, 1998

Who says you can't go home again? The exuberant musical phenomenon The Last Session tested the waters two years ago in local Cinegrill and Zephyr Theatre workshops, moved on to SRO productions off-Off-Broadway, then Off-Broadway, then Orange County and is now preparing to return to its birthplace, breezing back into town on a euphoric magic carpet ride of rapturous bi-coastal reviews.

Thanks to fast moves by the Tiffany Theatre's astute Paula Holt, the recent limited-run Laguna Playhouse West Coast premiere production transfers intact to the Tiffany in West Hollywood for an indefinite engagement beginning Dec. 5.

In a recent interview in Studio City, the show's book writer, Jim Brochu (in person), and composer/lyricist Steve Schalchlin (via phone from Boston), talked to Back Stage West/Drama-Logue about their theatrical blitzkrieg. Schalchlin succinctly described the show's cult appeal: "Check out the Internet, and you'll find that our show has been adopted by fans as sort of the "Rent's-little-brother' musical." Brochu added, "Some groupies have come back to see the show 20 to 30 times."

What is the special appeal of this show that elicits such passionate audience response and prompts critics like Back Stage West/Drama-Logue's Kristina Mannion to gush profusely? The show's remarkable evolution provides some clues to its charisma.

Los Angeles residents Brochu and Schalchlin, who became life partners after they met in 1985, found themselves dealing with Schalchlin's rapidly worsening AIDS-related complications. Schalchlin explained that despite his weak condition, "Jimmy urged me to write songs to express my feelings, because he noticed that every time I sang the songs I had written, I seemed to get stronger." Brochu stated his view that "there's something about the creative process and what it does for you. When you are engaged in something you love, you feel better." Although protease inhibitors have undoubtedly improved Schalchlin's condition, both partners feel that the joy of creative expression also made a significant difference.

As a result of Brochu's constant encouragement, Schalchlin ended up with nearly a dozen pop/gospel-styled songs that related such experiences as his Christian upbringing, hospital emergency room visits, and group therapy. Brochu decided to create a narrative to link the songs. The amazingly cohesive book musical that resulted tells the poignant and humorous tale of Gideon, a musician suffering from AIDS who decides to gather some friends and make one final recording for his lover, then commit suicide the next day. When a young musician‹a homophobic religious zealot‹enters the scene, both he and Gideon find they have much to learn from each other.

The story is not fully biographical, but draws on some real-life experiences. "Steve never intended to commit suicide," Brochu asserted. According to Schalchlin, "The character of Buddy [the young musician] was based on somebody in my band. He used to call and preach to me about AIDS and sin." Yet the creators are quick to point out that there are no villains in the play. Brochu elaborated, "In meeting each other, both characters learn some tolerance. Buddy learns that making friends with a gay man is not going to offend God. And Gideon recovers his sense of spirituality."

Schalchlin participated in the interview by phone because he was in the midst of a nationwide concert tour in which he performs songs from the show and provides narration. "I'll be singing in a Baptist church in two weeks," he said. "Imagine an unrepentant homo delivering this show's message in a Southern Baptist place of worship."

Born in Alabama, Schalchlin is a preacher's son who developed his musical skills in church choirs and Baptist colleges. Brochu grew up in Brooklyn and said he wanted to be a priest until he met Ethel Merman: "I got my first job on Broadway at age 16, selling orange drink during Hello Dolly! intermissions. I was an actor for a long time and started writing for television 20 years ago and also began directing about the same time." He is also the author of Lucy in the Afternoon, a best-selling book about Lucille Ball.

On opening night, the Laguna audience's response to the show was ecstatic, a phenomenon that occurs nightly, according to Brochu. "Considering their largely conservative subscription base, the Laguna producers really went out on a limb for this," he said. "They wanted to challenge and entertain their audience at the same time. However, this show is not really a "gay' play or an AIDS play. AIDS is a metaphor for anything in life that you think you can't get through, and the story shows how the support of friends helps you get through it."

Schalchlin laughed as he recalled comments made by a Boston talk show host: "He said that it was the most cynical and heartless of critics who seemed to love the show the most." If old yours-truly Ebeneezer is any indication, this host knows whereof he speaks.