A Celebration of Love in A Shonda at the Foundry  

Brandon Campbell as Duvid and Jackson Goad as Clayton in A Shonda at The Foundry in Wilton Manors. Photo courtesy The Foundry

By Britin Haller

Those lovestruck kids and their warring families in Romeo and Juliet have nothing on the gay couple and their ultra-conservative parental figures in A Shonda, a premiere of a new musical now running at The Foundry in Wilton Manors through Sept. 1. And thankfully, Ronnie Larsen Presents and the Plays of Wilton give us a happier ending than the Montagues and the Capulets.

But it’s not all wine and roses to get there. It’s not an exaggeration to say star-crossed lovers Duvid and Clay could very well be the most unlikely duo in theatrical history.

Wendy Graf, a scriptwriter and playwright from Los Angeles, originally wrote a non-musical version of A Shonda a few years ago, and when South Florida producer/director Ronnie Larsen envisioned it with singing and dancing, he approached Graf who gave her blessing. Larsen ran with it, bringing in Bobby Peaco and Dennis Manning as its composers and lyricists. Peaco also serves as musical director.

Jackson Goad as Clayton and Brandon Campbell as Duvid in A Shonda at The Foundry in Wilton Manors. Photo courtesy The Foundry

Clearly by the excitement of the after-show crowd, Graf and Larsen and Peaco and Manning are successful shidduchs, also known in the Jewish vocabulary as perfect partnerships. Peaco and Manning accompany the action on keyboards and acoustic guitar while their thought-provoking lyrics such as “Sometimes Forever Just Lasts Until the Morning Light” resonate.

A Shonda is “a tale as old as time.” To paraphrase William Shakespeare, “Two households, both alike in dignity, in fair Memphis, Tennessee, where we lay our scene . . .”

Tennessee is probably not the best place to grow up gay, as an Orthodox Jew, and especially not as a gay Orthodox Jew. Such is the dilemma of Duvid who was taught as a young boy that “It’s an abomination for a man to lie with another man like he does with a woman,” and that a person who does something to embarrass their people as a whole is considered reprehensible. Before the show, we are told that a shonda is “a person, thing, or act that brings shame or scandal; a disgrace.” No pressure there then.

A Shonda at The Foundry in Wilton Manors. Photo courtesy The Foundry

Clay, on the other hand, is the only child of a Southern Baptist bar-owner. Even saying those words in the same sentence sounds hypocritical. And “Mama” is definitely hypocritical. It seems she’s okay with sin for her son, Clay, as long as it either comes in a liquor bottle or in a nice package with a female anatomy. She wants grandkids the natural way and isn’t afraid to say so. She tells Clay that Satan has a hold of him, and he should see Pastor Jenkins to work it out.

Mama is like the Christian equivalent to the stereotypical Jewish yenta who is nothing unless attempting to make her latest match. Mama likes to say “Jesus, take the wheel!,” which seems like just an easy out for not assuming culpability for her own actions.

Finding and embracing our inner child is an important part of good mental health, but imagine if everything you are is questioned and insulted by the very people who have sworn to love you. Enter Angie Radosh as Dottie, Clay’s country bible-thumping mom, and Avi Hoffman as Rebbe, Duvid’s father-in-law and longtime rabbinical mentor. “You’re exactly the same as him. You just dress different,” Clay tells his mom in one heated exchange.

A Shonda at The Foundry in Wilton Manors. Photo courtesy The Foundry

As children, Duvid and Clay were nothing more than best pals and fishing buddies until the day they weren’t, and they realized their feelings for each other had grown romantically. Creating a backstory for the couple is a wise choice as any potential negativity toward Duvid and Clay for committing adultery is circumvented when we learn they loved each other first, and their love was denied when Mama also realized it, telling the boys they couldn’t see each other anymore. She even sent Clay out of town to a place designed to take the gay out of him, to make sure she split them up for good. But as Mama learns, real love (or sexual orientation!) won’t die just because she wants it to.

The story fast forwards a decade. The boys are now men, and in each other’s orbit once more. Problem is Duvid is now in a fixed marriage with a Jewish woman he is expected to love and produce children with.

As Mama Dottie, three-time Carbonell Award winner Angie Radosh is perfectly cast, proving once again why she is considered a South Florida treasure. No one delivers a one-liner “Those people don’t even eat bacon!” like Radosh, and even though most of the time her character is unintentionally funny, watching her wait for the laugh she knows is coming is a real pleasure. But she can do angst just as well, and her rendition of “Shame” with her son, Clay, is goosebump inducing.

Clay’s mother only wants the best for her only offspring as long as it’s what she considers to be the best. Mama has a tough transformation if she’s ever going to be able to play a real part in her gay son’s life. In lesser hands, Mama could come across as callous and insincere, but Radosh makes this unsympathetic character one we want to root for. We want her to get there for herself and Clay. We feel her struggle as she fights against everything she’s been taught to believe about homosexuality, and we rejoice in her baby steps. “I’m not ready to march in some parade, at least not yet,” she informs Clay, but she’s a true fighter, and with Radosh behind the wheel, we’ll take Mama in our corner any day.

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A Shonda at The Foundry in Wilton Manors. Photo courtesy The Foundry

uvid’s parental figure is his wife’s father, Rebbe, portrayed by TV/film/stage actor Avi Hoffman, a man who has spent his life teaching Judaism, and whose own father was a Holocaust survivor. Rebbe watched Duvid grow up, and their relationship is sweet and pure. It’s obvious Rebbe is not just a mentor, but a friend. His love for Duvid is sincere. Like Mama, Rebbe wants the best for Duvid as long as the young man’s choices follow Jewish law, and he completes his husbandly duties. “Without our rules, we have nothing,” Rebbe tells Duvid. Hoffman is mesmerizing. His presence is huge, as it should be, and all eyes are drawn to him. He’s firm, yet tender, with Duvid at the same time. In short, another perfect casting. Hoffman also acts at the production’s “Jewish consultant.”

Ana Marie Calise appears in the dual roles of bartender Amanda and Duvid’s wife Rachel. The two women couldn’t be more different. Amanda works with Clay and has no problem letting him know she’s available. “I could use a grand slam, if you know what I mean,” she tells him after suggesting they go out for a meal. No subtlety there. Her frustration grows as he rejects every advance. “I’m always attracted to the queers,” she says. “It pisses me off.”

But it’s as the long-suffering Rachel, who is going to stand by her man because it’s expected, where Calise excels. Her pain is palpable, and our hearts break for her in the gorgeous, haunting number “A Woman Knows.” She always knows.

As Clayton, Jackson Goad proves very quickly he is a real find. His vocal range, projection, and tone are appealing, especially noted in the touching lullaby-framed “I’ll Be Right Here” and his stirring solo “Forever.” Love the falsetto!

Brandon Campbell plays Duvid with such an intensity and passion for his religion, it’s hard to believe he’s not Jewish. He credits fellow actor Avi Hoffman as an “invaluable resource,” pointing and leading Campbell in the right direction. Campbell’s voice blends beautifully with Goad’s in their lovely harmonic duet “Water and Fire,” and their chilling opening number “Hometown.”

Clayton’s younger version is Jackson Goddard, while Kaden Pesaturo is young Duvid. Already no strangers to the stage, and with numerous impressive credits, these two young men have bright futures. They shine like stars in the pretty “First Star.”

Ensemble/chorus members Don Bearden, Zoë Darragh Garnett, Manda Gonzalez, Zachary Krouch, Jack Stein, and Jeremy Quinn give it all they’ve got, never more so than in the showstopping “What’s a Little Shonda?” Although they’re all brilliant, Jeremy Quinn as the Devil, is the one to watch. Applause, Applause, Applause!! Quinn also has great fun in the gay bar scene with the cheesy one-liners.

New York City-based Carbonell Award winner Oren Korenblum choreographed the moves with assistance from Abbie Fricke. Stand-out numbers include the ultra-country “Line Dance,” and the wedding of Duvid and Rachel where the ultra-conservative Jewish hora is celebrated, but the pièce de résistance is watching what happens when the Devil went down to Florida.

A minimalist approach, the set is a series of props pushed on and off as needed. It works. Great choice by in-house set designer Melqui Domineguez, and as usual, lighting designer, Preston Bircher, nails it, assisted by Panos Mitos as the lighting and sound tech. Lovely costume work by upcycler Nicole Alcaro who supports a cast dealing with a lot of quick changes. Having the younger Duvid and Clay dress exactly the same as their older counterparts is inspired. The number done all in red is a real highlight. The cowboys wear plaid shirts, jeans, boots, vests, and hats, while on the other side of the spectrum is the traditional Orthodox Judaism attire including tallits (prayer shawls) with tzitzit, kippot, payot, shtreimels (round fur hats), and modest dresses and tichels for the women.

Not only is A Shonda immensely entertaining, but this inside look into a sacred and beautiful, but often misunderstood, religion felt like an honor, especially during the classic Judaic prayer songs “Shavua Tov” and “Shalom Aleichem” as sung by Rebbe and company. And when the rabbi’s words about love and marriage circle back to us at the end, good luck finding a dry eye in the house.

A Shonda may be centered around the most unlikely duo of a gay Orthodox Jew and his cowboy, but its themes are universal. Love is love, your true desires are worth fighting even your parents for, and never ever settle. So line dance, or do the hora (or both!), down to Wilton Manors to see A Shonda before the devil steals your soul.

It’s simply A Shonda if you don’t.

Britin Haller is a mystery author and an editor for Turner Publishing. Her latest short story “So Many Shores in Crookland” can be read in the 150th issue of Black Cat Weekly. Britin’s latest edit, a cozy mystery novel called Dumpster Dying is by Michelle Bennington and available where books are sold. Find Britin across social media.

A Shonda plays through Sept. 1 at The Foundry, 2306 Dixie Highway, Wilton Manors. Some performances are already sold out. Showtimes are Wednesday-Saturdays at 8 p.m. and Sunday matinees at 3 p.m. Running time approximately 90 minutes with no intermission. Tickets start at $37.50. Call 954-826-8790, or visit playsofwilton.com.