SINGING TROLLS

Anne Kelly-Saxenmeyer
Mirror contributing writer

   It isn’t an offspring of Harry Potter mania. The delightful musical, “Trolls,” takes its name from the epithet used by some young gay men to refer to their over-forty counterparts. Turning the term on its head, the conceivers give us “trolls” who are tough, attractive, witty and wise. With fine vocals and vibrant performances, the show never ceases to surprise and entertain.
   Premiered by the team of Bill Dyer (book, lyrics, producer), Dick DeBenedictis (music, producer), Eugene “Ron” Taylor (director), and Miriam Nelson (choreographer), the play concerns a group of friends who gather to celebrate the life of a recently departed and much cherished member of their circle.
   Unbeknownst to his friends, the deceased Boomie (a magnetic Jeffrey Paul Morgan) — jack-of-all-trades, humanitarian and swell guy — decides to join the party. Yet another unexpected guest, Boomie’s homophobic sister Myrna (Barbara Allyne Bennet), shows up to stir old wounds.
   The resulting musical journey is a mixture of hilarious camp and poignant reminiscence, with Nelson’s sharp choreography often amplifying the humorous bits.
   Setting the pace, the title song is a catchy and self-deprecating treatise on being gay and mature, performed by Michael Storer (Michael), J. Michael Ferniany (Juan), Rundy Duphiney (Phillip) and Richard Fox (Terry).
   Days of song and dance are recalled in “Your Love is Like a Car to Me,” a metaphorical drag number reprised by Jo (Wandachristine), now post-op; and “The Gay Caballeros,” in which Ferniany is a charming Carmen Miranda. In the upbeat, ironic “Back in the Gay Old Days,” Boomie and Terry, his oldest friend, remember the daily obstacles of gay life pre-Stonewall.
   The show’s most moving offering is “Will Someone Remember Me?” sung by Blane (Craig Dyer standing in for Jeff Pierce), a former hustler who changed his life after Boomie taught him a respect for the gay legacy and helped him find a cause. (APLA is one of a few organizations that find their way into Dyer’s script.) Another memorable ballad, “Duet,” frames the budding romance between Blane and Phillip, a meticulous dresser and exercise fanatic, whose ego has been bruised by younger men in the past.
   As with any musical, “Trolls” wasn’t conceived out of a passion for realism, and its emotional colors can run a little hot. However, with sincerity, easy wit and a wonderful chemistry among the cast, the production earns our unflagging attention and occasional indulgence.
   The various facets of the show are smoothly integrated by director Taylor, who manages to create an intimate connection between actors and audience, setting much of the musical portion on the downstage limits of Donnie Jarman’s (set and lighting) expansive living room set.
   This inclusive staging culminates in a bright flourish of a curtain call. In the lead, Morgan twirls a baton, having traded his cream colored heaven duds for something more colorful. Ferniany throws candy and streamers. Storer waves a rainbow banner. And Bennet, formerly Boomie’s sour sister Myrna, wears a grin and carries a PFLAG poster.
   “Trolls” at the Coast Playhouse, 8325 Santa Monica Blvd., West Hollywood. Fri.-Sat. 8 p.m.. Sun. 3 & 7 p.m. Dec. 1-Mar. 28. $20. (323)655-TKTS.