The year 2008 doesn’t seem so long ago, yet the world has changed considerably since then, especially for those of us who identify as queer. Legislation and court cases and art have all shaped the LGBTQ+ experience in America, and it can be fascinating to look back and reflect on how far sixteen years has brought us. Sofa King Queer, a world premiere musical with book, music, and lyrics by Kevin Sparrow and Nothing Without a Company’s first full production since 2019, follows a queer man involved in the Chicago punk music scene in 2008 as he explores sex, relationships, and the intersection of the personal and the political.
I love a musical that pulls out all the stops, with sparkly costumes, special effects, and full orchestrations. I also love a show that reminds me that musicals don’t need any of those things to be good. Sofa King Queer is the latter, relying on DIY aesthetics and the believability of its characters to carry the story with great success. Form follows function here: a keyboard, guitar, bass, and drums are the right fit for this show’s style of music, and ripped jeans and excessive amounts of sparkly blue eyeshadow say plenty about the characters and setting without breaking anyone’s budget.
Family, both biological and found, is at the center of the story here. Sure, protagonist Topher is trying to pull off a secret show at the music venue where he works, but the main focus is on his relationships, both romantic and familial. The other five cast members consist of his lovers, Granger (a promoter) and Brody (a longtime friend), his cousin Sil and their partner Nao, and his teenage sister Patty. There’s plenty of sex being had, and while such content can sometimes feel gratuitous onstage, here the honest portrayal of queer sexuality is a breath of fresh air.
The messiness of the various relationships feels real, although the emotional beats don’t always differ enough. In particular, a weighty confession Topher makes to Sil about their childhood fails to land in the way that it ought to, making subsequent conversations about the topic feel less resonant and more a waste of stage time. Sil’s character, in general, feels underdeveloped, more like an idea of a character than a fully-fleshed out person. Still, the actor playing them, Amy Delgado, has quite a set of pipes, and their emotional duet with Alex Alontaga, who plays Nao, is a highlight of the soundtrack.
The music in general is excellent, despite the distraction that loading the band on- and offstage for every number causes. The songs nail the pop-punk feel the show is aiming for and are infused with an intense emotionality. The title song, performed just before intermission, is especially catchy and feels like a queer anthem in a way that other musicals have aimed for and failed to achieve. The show’s greatest strength is its striking authenticity; on every level, it lets queer people speak for themselves instead of speaking for them.
One of art’s incredible powers is its ability to heal, and this is a show with healing powers for anyone who’s ever felt lonely, disempowered, or afraid of vulnerability. If you need an infusion of queer joy, check out Sofa King Queer.
Ticket Information
Location: Berger Park Cultural Center, 6205 N. Sheridan Rd.
Dates: November 1 – December 2, 2024
Times: Thursdays – Saturdays at 7 p.m., Saturday & Sundays at 2 p.m., with additional performances on Wednesday, November 6 and 13 at 7 p.m. (student night) and Monday, December 2 (industry night) at 7 p.m.
Tickets: $30 – $60 with student and industry discounts available. For more information or tickets go to the Nothing Without a Company website, or email the box office at bo*******@no********************.org.
All photos by Matthew Gregory Hollis.
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