The Last Session

Reviewed by Holly Bartges

He sits at a keyboard in a well-appointed studio once built as a bomb shelter. Gideon, a man of resolve, records to Jack, his partner of 13 years. His voice quiet, and strong; his body relaxed while his eyes shine with a depth of knowing. Not so the voice from behind the recording booth. Jim bites his words with gnashed teeth. The words flow from the booth mic clipped, tethered with controlled disappointed anger.

Jody Wells, Carla Kaiser Kotrc, Laura Chavez, and Rob Riney in a scene from The Last Session. Photo by McBoat Photography

Theatre Off Broadway’s production of Steven Schalchin’s musical The Last Session takes the breath away, grabbing the heart with its truth, honesty, and poignancy in a beautifully executed production. Because of what it says, and how it says it, this show should not be missed by anyone, anywhere, anyplace, no way, no how, no why!!!

Directed by Samuel Wood with music direction by Steven Tangedal and an out of sight, magnificent cast, The Last Session should not be missed. OK, I already said that, and there is a very good chance I will say it again.

Jody Wells wears the soul of Gideon as though it were specifically designed for him. Wells tells me he’s a singer and not an actor, but he certainly didn’t prove that to me by his stunning performance.

The cryptic voice behind the booth belongs to David Ballew who gives Jim, a close friend of Gideon’s, a powerful believable punch.

Jim has reason to be angry. He alone knows Gideon’s plans for tomorrow.

Gideon only has tonight to finish his project: record vocal comments and music about his experience, thoughts, and memories to Jack.

Gideon has A.I.D.S. Since he is dying anyway, he has quickened the moment for tomorrow. By ending his life on his own terms he will bring his pain and anguish to an end. He will end Jack’s torment of having to sit by and watch death painfully strangle the life out of his beloved partner. He will spare his friends prolonged anguish. At least, that’s how his fevered mind rationalizes.

They wait for three other singers for back up. While waiting, Gideon sings about his funeral, Save Me A Seat, musing, “Will you wonder if you really knew me, or knew me too well?”

Tryshia bustles into the studio apologizing for being late, complaining about the babysitter. Bright-eyed and bushy-tailed, Tryshia is played by Laura Chavez and is simply wonderful. Eager to sing, eager to record until Jim tells her Vicky is coming. Vicky? Tryshia hasn’t talked to her in three years, and isn’t about to start tonight. She’s abrasive, irritating and a diva. The very thought of Vicky showing up brings Tryshia to an abrupt halt.

Carla Kaiser Kotrc plays Vicky the exact way Tryshia describes her: abrasive, irritating, and a diva. Even though the red light indicates recording has begun, Vicky barges in anyway, grabbing center stage. Magnificently stunning. She’s brought the booze. She drinks too much. She doesn’t care. The world is her oyster and she’s here to perform. So she hasn’t talked to Tryshia in three years. She doesn’t have to talk to her now except through snipping and snapping put down’s.

One person has yet to arrive, a friend they haven’t heard from. They won’t. Buddy from the answering service saw to that. James R. Baker deliciously played by Rob Riney, having admired Gideon for years, schemed to make sure the friend never got the message. So he can show up, so he can show Gideon his music, so Gideon can get him started in the business and make him a star. From the South, already having proved himself in gospel music, Buddy, as James R. Baler wants to be called, is a dyed-in-the wool-evangelical Christian.

Explosives reverberate off the walls in the studio when Buddy discovers his hero is not only Gay but also dying of A.I.D.S. His Christian morality won’t allow him to stay in such a sinful place, leaving in the thunderous rapture of a tornado. He doesn’t stay gone long, returning with more Christianized determination seeing his mission to save Gideon. When the others discover Buddy possesses a gorgeous strong voice, Gideon needs him to stay, wants him to stay.,/p>

The Last Session, laced with honest open humor and sharp laugh out loud lines, deals with Homosexuality, A.I.D.S., suicide, friendship, responsibility, education, and building bridges between strong opposing points of view.

Schalchlin was dying of A.I.D.S. His music career floundered, he was broke, had given up. Then he began to write songs about his experiences, planning to record them for his friends, never expecting to hear them. Something miraculous took place, new drugs were found, and the song writing became therapy. He gained weight. He gained energy. There was no funeral. No more hospital stays and he gained life.

Playwright Jim Brochu took the songs worked them into a Book based loosely on Schalchlin’s life. Although the songwriter cried a great deal, he didn’t actually contemplate suicide. He did wonder what it would be like if he was no longer around.

Tribute is paid to his mother and father with the song The Preacher and the Nurse. Because Gideon grew up with a father for a preacher, he knew scripture, which is one of the grand highlights of the musical. For every piece of scripture Buddy throws at him, Gideon throws another right back providing some very strong hilarious moments.

Kotrc takes Vicky to stunning heights with the song Somebody’s Friend. Gideon and Buddy quiet the house with Going It Alone.

One of the most memorable songs comes with Buddy taking the lead in Friendly Fire. The music of the WWII rah-rah-patriotic military songs is given new meaning comparing doctors and pharmaceuticals to the dangers of friendly fire. The song At Least I Know What’s Killing Me rattles Buddy, and shakes the rafters.

At one point, Jim can no longer keep quiet, blowing Gideon’s secret, ungluing Vicky and Tryshia. The following dialogue melts the heart as they dig into friendship. At the end of the song Connected, Gideon cracks. Relationships, when they want to, heal.

Powerful voices, dynamic characters, a beautifully written tantalizing script, lyrics to laugh with and cry over, a striking lighting system and set designed by Tangedal, and a rich cohesive multi-talented cast provides a memorable, thought-provoking theatrical experience.

This production at TOB should definitely not be missed. I had to say it one more time. The third time is a charm. Besides it’s a truth.