Off-Broadway: "The Inconvenient Miracle: A Mysterious Birth Musical"
Delicately and delectably written, the show unfolds as a docile doo-wop deception, interweaving toe-tapping tunes with heart-breaking realism.
Samantha Streich and Deijah Faulkner; Photo credit Ahron R. Foster
A chill ripples through the sardined audience gathered at the Episcopal Actor’s Guild. Given the theater’s attic locality and subsequent broiling summer air, something ephemeral must be to blame. The moment I’m recalling is an act two supernatural reveal, the culmination and denouement of this mischievously charming new musical that infuses much-needed mysticism and wonder back into the art form too often dragged down by plot and production practicalities. “The Inconvenient Miracle: A Mysterious Birth Musical” dares to dream, wink, and provoke— what happens when a gaggle of prophesying Catholic school girls declares an atheist the next Virgin Mary? Would it—could it—actually come true?
Delicately and delectably written by Emily Rose Simons, Emily Claire Schmitt, and Ria T. DiLullo, the show unfolds as a docile doo-wop deception, interweaving toe-tapping tunes with the heart-breaking realism of a teen left to navigate death, faith, and forgiveness alone. Tongue-in-cheek up-tempos like “Hall Hallelujah” and “WebMD” expertly encapsulate and exacerbate high school antics. Yet these play alongside earnest, pleading fervency in moments like “Still Small Voice” or “On Your Own” that allow the cast to dive deeper into emotional chasms than their surface-level school persona façades may allow them in public. This is after all, a show set in high school, and while they wrestle with notions of faith, consent, and the unknown, the characters are also battling, well, each other in a social hierarchy of fitting in. The show is “High School Musical” meets “Angels in America”—a saccharine sitcom turned awry.
Delivering this tongue-in-cheek tightrope is a stellar cast of earnest performances led by Deijah Faulkner as the reluctant protagonist and possible new Madonna, Vanessa Rosales. Faulkner’s performance is on the precipice of stardom, a subtle authenticity met with commandeering stage presence that draws us in effortlessly for the honest roller coaster of emotions this disinclined teen must journey through on her path toward self-discovery. Ria T. DiLullo’s breakneck direction keeps everyone as tightly on task as a nun with a ruler; the entire cast is nothing if not in line and on point, infusing character quirks and individualism in a true community, ensemble piece perfect for future amateur productions to dive into. There’s the bombastic, scorned-Sharpay-esque Samantha Streich as popular self-declared prophetess Abigail Percy; charming Nicola Barrett as steadfast BFF Trisha; perfectly off-kilter Ellen Orchid as Grandma Marjory; and the nurturing nun with a secret, Sister Florence (played by Gael Schaefer at this performance). Rounding out the cast is a pack of hilarious schoolgirl “disciples”: Morgan Misk, Bella Anaya Hathorne, Karen Joy Pangantihon, and Kayleigh Watson.
While the show’s current piano-only skeleton will surely flourish under future orchestrations to flesh out the sound, playfulness, and vibrancy of the character songs and world, the main take-away is the show has huge potential to grow (much like a certain orange subterranean snack that our characters become obsessed with like pubescent, prophesying Bunniculas). Other standouts include lively choreography by Kal Leski, capturing plucky youthful zeal mixed with Vacation Bible School enthusiasm. Costumes by Caterine Sanchez are in turn practical and phantasmagorical, eliciting that refreshing “ooh ahh” moment that Ziplocks the audience tightly into the suspension of disbelief (or is it belief?) the play requires.
It’s not that the show is a denouncement of either atheism or Catholicism. Far from it, the musical is best encapsulated by a universal theme of celebrating individualism within a community, as the apostle Peter wrote, "Above all, keep loving one another earnestly, since love covers a multitude of sins. Show hospitality to one another without grumbling. As each has received a gift, use it to serve one another, as good stewards of God's varied grace" (1 Peter 4:8-10). Each of the characters battle showing care and goodwill toward others as they simultaneously balance trying to unearth what each of their “gifts” are, who they are, let alone how they may or may not be a steward of God’s grace on earth. In keeping with the Biblical allusions, one literal gift features prominently in the piece, a rosary gifted to Vanessa by her grandma shortly before she passes. But Vanessa angrily decries the rosary as “the noose around my Grandma’s sanity,” denouncing wanting anything to do with what she’s been given. It’s only through a series of (seemingly unfortunate, sorry Lemony Snicket) events that her gift reveals itself to be important, perhaps a poignant lesson in omniscient plans, how each of us has gifts and plays a part in a larger picture, or just in general should remember there’s value in the unknown yet to be revealed to us.
On the front line of this battle between the known and unknown of course is the lone nun present, Sister Florence. In a climactic beg to God, Sister Florence’s potential showstopper “The Call” isn’t unlike other “come to Jesus” moments, except the ones that sprung to mind were quite frankly always written from a fallen male perspective (forgive me Alan Menken). In “Inconvenient Miracle,” the femininity of characters isn’t shied away from, but rather inherently lends itself to the authenticity of the propelling action being rooted in traditionally femme (and therefore taboo) themes around cliques, consent, and the ability to grow life. On a practical level, this makes it the perfect answer to modern US high schools overrun with girl to boy drama department ratios with little theatrical canon that mirrors that reality, let alone one that tackles the jungle gym of a high school girl’s mind with such wit and hilarity.
“The Inconvenient Miracle: A Mysterious Birth Musical” is on it’s way to becoming a refreshing coming-of-age for a modern audience, unafraid to wear its heart on its sleeve and believe in the miracle of each of us.
Production credits
“The Inconvenient Miracle: A Mysterious Birth Musical”
Presented by The Skeleton Rep(resents) in partnership with EAG’s Open Stage Grant.
By Emily Rose Simons, Emily Claire Schmitt, and Ria T. DiLullo
Directed by Ria T. DiLullo
Music Direction by Simon Broucke; Choreography by Kal Leski; Fight Direction by Luzmyrna Crespo; Lights by Celia Frey; Costumes by Caterine Sanchez; Production Stage Manager Daniel Scarantino; Assistant Producer Callie Considine.
Cast features Deijah Faulkner, Samantha Streich, Nicola Barrett, Cecilia Vanti, Ellen Orchid, Morgan Misk, Bella Anaya Hathorne, Karen Joy Pangantihon, Kayleigh Watson.
Running at The Episcopal Actors' Guild (1 E 29th St, New York, NY 10016). Performances take place on Thursday - Saturday, August 11 - August 27, 2022 at 7pm. Tickets ($25-$35). The performance runs approximately 2 hours and 30 minutes, including an intermission. For more information visit www.inconvenientmiracle.com