My Own Take: Off-Broadway Musical by Douglas Lyons 'Beau'

The show: “Beau,” a new musical playing at off-Broadway’s Theatre 154 on Christopher Street in Greenwich Village (the former New Ohio Theatre).

What makes it special?: Douglas Lyon created the book and lyrics and co-wrote the music with Ethan D. Pakchar. (It was Lyons’ concept, too.) Lyons grew up in New Haven and graduated from Hartt School at the University of Hartford. He’s been a successful actor (Broadway’s “Book of Mormon,” “Beautiful” and “Parade”) but is also a prolific playwright (Broadway’s “Chicken and Biscuits” and off-Broadway’s “Table 17.” He also writes for TV’s “Fraggle Rock.”) This musical has been on the works for more than seven years.

What’s it about?: First, let me tell you about the environment. The theater space — designed to the hilt by Daniel Allen — feels more like a friendly, eclectically-decorated, honky-tonk bar, complete with a bartender serving drinks (get there early for a brew) and a small stage for the local band to play.

At show time, the seven members of Ace Baker & Company — who double as actors — mosey on stage, warm up and then lead singer Ace Baker arrives to start the show’s story. After a rousing opener, Ace tells us this is his Tennessee hometown and he and his band are going to present some songs that tell a story that’s especially personal to him. He says he recently came across a journal which he started when he was 12 which tells of his coming-of-age as the son of single-parent mom Raven (Amelia Cormack, terrific), who is tough, sexy and loving. In the journal, 12-year-old Ace is beginning to deal with his sexuality inside of school and out of it, at the same time he discovers a grandfather he never knew (and who has secrets of his own).

The actor plays a 12-year old?: Not to worry. Matt Rodin, who plays Ace, is extraordinary, with just the right amount of innocence, charm and spunk that can draw you into the story of youth without making it feel artificial. It’s a beautifully measured performance as he grows older, as he straddles the worlds of the adult storyteller and the troubled boy who was bullied at school and feels adrift.

Uh-oh, sounds like we heard this story before: But it gets interesting fast in this tale set in 2013. Spoiler alert: Soon Ace’s tormenter Ferris (Cory Jeacoma; Jeremy Sevelovitz in the performance I saw) corners him with a surprise kiss, which begins a years-long relationship — with a few twists and turns. When Ferris later gets a girlfriend (Andrea Goss) and returns to his bullying ways, it devastates Ace. But the show isn’t just about that relationship really.

Oh? It’s not Brokeback Tennessee? Nope. Ace discovers that he has a grandfather who left Ace’s mother when she was a young teen, never to return to the family She hasn't spoken to him since but Beau, desperate for a family connection, seeks him out in Memphis and begs for a relationship with Beau, who was a musician The music is their bond and it changes everything for the both of them.

And the music?: A constant delight, pulsating with energy, wit and warmth and so naturally set in the bar environment. Nothing feels forced in this show. Ethan D. Pakchar and Lyons’ score propels the narrative as the songs burst from the story and back again.

Rodin has a strong and dynamic voice, full, of ache and joy and everything in between. The supporting cast/musicians are well drawn, too: Beau’s galpal Daphney (fiddler Miyuki Miyagi) has the right amount of tartness and love; Matt Wolpe brings comic lift as Raven’s good-guy-but-annoying boyfriend; drummer Derek Stoltenberg also steps out of his corner for a small role.

But it’s Chris Blisset’s Beau who grounds the play. His is a rock solid performance as the grizzled ex-musician, set in his ways until Ace’s arrival changes everything. Initially an ailing Beau is wary in meeting his young grandson for the first time. (“You can ask me anything under the sun,” Beau tells Ace. “But that don’t mean I’ll answer it.”) But as their relationship grows, so does the special warmth and an inter-generational male connection that has many layers. It’s one all young boys wish they have at their point of their lives.

Lyons’ tight script is sensitive and specific, creating a richly drawn portrait of a young man finding his place in the world and of a grandfather who finds redemption. Director and choreographer Josh Rhodes stages the show economically and brightly and finds endless variations throughout the ambient set of a Nashville roadhouse bar (nicely lit by Adam Honoré).

Who will like it?: The LGBTQ+ community and its family and friends; fans of environmental entertainment; just about anyone who craves an entertaining show with humor, drama and uplift — and a score that bursts with heart, ache and drive.

Who won’t?: Those not into another coming-of-age, coming-out story.

For the kids?: Yep, especially young people questioning their identity and place in the world.

Looking into the future?: This is an environmental show at its very best and quite adaptable to a multitude of stages. It could also transfer to a larger setting, too, if it keeps its intimate vibe.

Thoughts on leaving the parking lot?: Just like “Dead Outlaw,” this is a tuneful score that rocks with country-western roots and, like that under-the-radar (at least in the beginning) show, “Beau” could emerge as a sleeper hit, especially with this great ensemble and a star performance.

Info: BEAU