BREAKING NEWS: Last Friday night, Martians invaded Tampa Bay disrupting the socially distanced, expertly mixed sounds of the fabulous Green Bench Brewing Radio Visual Variety Hour. For historical context, this “War of the Worlds” is the third such major attack on record.
First, H.G. Wells spun a tale of extraterrestrial invasion in 1898, five years prior to our planet’s first liftoff at Kitty Hawk. Forty years later, thespian polymath Orson Wells’ Mercury Theatre on the Air scared the bejesus out of latecomers who tuned their radio dial to tales of a Martian apocalypse in the days before television.
War of the Worlds
freeFall Theatre
6609 Central Ave. N., St. Petersburg
Tickets: $75-$99 per vehicle (four people)
Through Dec. 6
727-498-5205; freefalltheatre.com
And now, as live theaters across the nation struggle to figure out how to survive a once-in-a-century pandemic that has robbed them of their audiences, aliens have descended upon Tampa Bay.
This time, however, we’re settled in a Central Avenue parking lot, windows down, tuned to 89.3-FM for a live drive-in radio experience. There are 30 cars, three screens, and masked concession carts that ricochet from auto to auto.
So, while 2020 has been the year from hell, it’s been stellar for Tampa Bay’s winning teams. We’ve cheered the Bolts and Rays and now the virtuoso freeFall team, which for lack of an official mascot we’ll call . . . the GAYs (great American youth).
This all-star trio is led by Artistic Director Eric Davis, who in the mold of Orson Wells, wears many hats. He gives a brief video intro reminiscent of Alistair Cooke’s “Masterpiece Theatre” wing chair days to set the tone. Plus he’s crafted a giddy script filled with topical political and pop culture references reinforced with crackerjack video that ranges from Charlie Chaplin to Disney-esque animation, gloriously cheesy B&W sci-fi battles to a live action feed. Even the Dalí has a cameo. Add to that the costumes and a colorful B-movie graphic design that captures the evening’s irreverent tone. But wait, there’s more.
Davis also directs with unfettered lunacy including bubble ray guns, super soaker surprises, and a mere eight minutes into the show, WTSP10 News’ Josh Sidorowicz’s breaking news of an electromagnetic earthquake, which becomes an ongoing shtick building the dire apocalyptic drama with each reappearance.
Music Director and co-author, Michael Raabe also displays protean versatility. All told, there are 46 different songs woven into delightful mashups sung to a fair-thee-well by the quartet of live performers. They caress Raabe’s delicious harmonies reminiscent of Manhattan Transfer with obvious zeal. And while their ability to sell their limited dialogue is a bit stilted, it’s no matter. There are delightful arrangements that riff on “friends,” “rain,” and all things “happy.” Stolen musical themes run the gamut from the Beatles to Broadway to the Spice Girls. Raabe continually upends expectations by delivering melodies in surprising idioms. Jazz appears when you least expect it plus there’s incongruous use of maracas and a Patagonian rainstick.
Third teammate, Matthew McGee, demonstrates once again his versatility in a series of humorous cameos—as the omniscient narrator periodically reminding the audience in ominous tones that “none of what you are watching is real,” as a chief master sergeant reassuring despite obvious chaos, and as an alien leader who curiously must have watched our VP debate.
The livecast is at their best as an ensemble, but the women, in particular, also demonstrate considerable vocal chops. Heather Baird sexily coos a mashup that uses Rosemary Clooney’s “Come On-a My House” as a springboard for all things candy, while Eileen B. Lymus belts out a Dolly Parton “9 to 5” mix. James Martin Roberts charms, and Robert Spence Gabriel lends his ukulele skills for a Mr. Rogers Neighborhood remix. Surprise is the order of the day.
There are so many clever elements, but to discuss them would be to rob you of the moment. Suffice it to say, I laughed out loud on several occasions. So much so, that if I had been drinking, my car interior would have been victim of a vaudevillian spit-take.
Set and lighting designer, Tom Hanson, has built an outdoor steel truss stage that fills the formerly open space between the two main buildings on the north side of the freeFall campus.
The angled surfaces catch the colorful lighting, which frames the action in deeply saturated colors to amplify the mood of each musical mashup. The pre-show ultraviolet is appropriately disquieting.
In what at first glance seems a relatively simple production, the demands of COVID-19 mean that the band is hidden, with its members performing remotely from the black box theatre’s chair-less risers separated by plexiglass. The singers all have dividers onstage as well, which fits the radio format. But sound designer, Stephen Kraack, melds it all into a unified, balanced whole. The transitions from live to video are seamless and the music couldn’t sound better as it fills your car. You can also access the feed on a cellphone, but I’d highly recommend using the superior car stereo. A healthy battery should easily handle the hour-long show.
The plot (such as it is) is ultimately tied up by a deus ex machina (see Greek drama) with BOTB drag performer, Adriana Sparkle. Apart from some well-earned warnings about climate change, this entertainment is ultimately not about the drama, but a welcome escape from pandemic lockdown to savor the shared thrill of live performance that we’ve all been missing and craving these many months.
So grab your masks, load your pod into the car, and scurry on down to the freeFall drive-in. Be prepared to LOL, forget your troubles c’mon get happy. It’s a romp.
Note: Access is on the east side from the north driveway off of 60th Street, just south of First Avenue N. Beer, wine, and snacks are available on site from the rolling concession cart. Stuffed Mushroom caterers is offering gourmet platters that may be preordered when you reserve your tickets.
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This article appears in Oct 29 – Nov 4, 2020.