Time to Reflect
Miami Gay Men's Chorus looks back, inward and forward

Melvin Bolanos in a key moment in “Through a Glass, Darkly” a choralpiece about crystal meth addiction, which the Miami Gay Men’s Chorus will perform at their upcoming concert, “Look: back, inward & forward.” Photo: Dale Penn

“They all laughed at the cute boy from Ohio,” says Anthony Cabrera, artistic director of the Miami Gay Men’s Chorus. “He had decided to call South Beach home and after getting here, realized there wasn't a place for him to do what he loved most—sing. So the boy from Ohio set off to start a gay men's chorus. Here we are, 10 years later, and we are all still laughing because it actually happened.”

The cute boy was Craig Fashbaugh, the founder of the South Beach Gay Men's Chorus, which was renamed the Miami Gay Men’s Chorus (MGMC) in 2004. Fashbaugh still sings with the chorus. In 1999, he and a ragtag team banded together, under the musical direction of David Kingery and accompanist Andrew Sargent, and founded what is today the MGMC. Seed money was provided by, among others, The Burstein Family Foundation. which is run by Harvey J. Burstein, publisher of MiamiArtZine.com.

Nine of the 36 original chorus members from the premiere performance, “South Beach or Bust” at the Colony Theater in May 2000 will be singing in this season's finale, “Look: back, inward & forward.” Travis Neff was lighting designer and production stage manager in the first show, and will have the reigns for this show as well. Stalwart music librarian Elmer Olhaber has missed performing only once, while the vivacious Cesar Taboada has never missed performing in a show. Today, there are 76 singing members in the chorus ranging in age from 23 to 86 years old.

Celebrating a Decade of Music
On June 19 and 20 at the Colony Theater in Miami Beach, audiences will be invited to reflect on MGMC's first fabulous decade.

“This is a celebration for thousands of singers, instrumentalists, dancers, theater crew, sponsors, grantors, donors, fans, board members and artistic leaders who have contributed so much to allow us to get where we are today, says Cabrera. “In the end, this show is our way of saying thank you to our audience and supporters for allowing us to give them the only things we have to offer—our songs and ourselves.”

Based on box office sales, there is talk of selling out as for December performances.

The front of the original palm card from 1999 recruiting singers for the then South Beach Gay Men’s Chorus, which was renamed the Miami Gay Men’s Chorus in 2004. On the reverse is the tag line “...like no other gay men's chorus on earth.” Courtesy Private archives

The first half of “Look: back, inward & forward” celebrates a sparkling selection of audience favorites from ABBA to Stephen Sondheim to Elton John with a bit of Puccini thrown in for good measure. The concert opens with grand and glorious choral works such as “The Awakening” by Joseph M. Martin, and the MGMC commissioned “My Own Creation” with music by Chris Lobdell, MGMC assistant director and accompanist, and lyrics by Jerry Chasen, a local attorney and chorus sponsor from the start. From the theater, there’s Sondheim's "The Little Things We Do Together" and Stephen Schwartz's "For Good" from Wicked, which lead to a review of diva numbers. Umbrellas are recommended as apparently it will be raining men.

The lively retrospective in the first act will be followed by MGMC's premiere of “Through a Glass, Darkly” with music and lyrics by Michael Shaieb, a bold new choral theater work that wrestles with the drama of contemporary relationships combined with crystal methamphetamine. This half provides a mixture of the driving beat of the club scene with brilliant solos and the entire chorus ending on a powerful note of hope. The 12 songs and multiple solos are non-stop. Every line is sung, yet this is about as dramatic as theater gets.

Scored in large four-part harmony, the chorus, soloists and dancers will be accompanied by a throbbing electronic recorded track that evokes today's club scene. While the theme and drug of choice in this show is meth, the utter loss and the personal breakdown could apply just as easily to alcohol or any other kind of self-destructive behavior. Variously described as a choral pop theater work, rock opera or and an oratorio, Cabrera sees “Through a Glass, Darkly” as transformational.

Social Awareness in Song
A decision was made by the chorus members to present works that address specific issues within the gay community and to not just put together a series of concerts for the sake of doing so.

Will Morales and Freddy Garcia in "Opener" in “Through a Glass, Darkly.” Photo: Sandy Allen

Cabrera scoffs at the idea of the MGMC becoming moralistic.

“We are simply moving into a mindset of addressing important and difficult issues in an entertaining and sensitive manner, providing the audience concepts on which to reflect,” he says. “We will never abandon the humor and camp style our audience members and singers also love."

Even “Through a Glass, Darkly” has comic relief in the form of “Making it: The Meth Song,” a piece in a style reminiscent of Jerry Herman, in which the chorus sings of the absurd commonness of meth's ingredients and its recipe that's available on the web.

Crystal methamphetamine (aka meth, ice, speed, crystal, glass, Tina or T) may seem an unlikely focal point for a choral concert. Yet meth addiction has become a major and extremely costly public health problem in South Florida and around the country. The chorus has teamed with CMA South Florida, a community organization with support groups and outreach efforts that provide real hope and support to those affected, their families and friends. They will have representatives at each show offering information to those who want to learn more. According to Health Day News, "In one study from San Francisco, gay men who visited a health clinic were twice as likely to be infected with the AIDS virus if they had recently used [Meth]. And they were nearly five times as likely to be diagnosed with syphilis." For more information visit www.abovetheinfluence.com.

Freddy Garcia plays a character who becomes addicted to crystal meth in “Through a Glass Darkly.” Photo: Sandy Allen

The wide availability of meth was emphasized by two chorus members who agreed to be interviewed on the condition of anonymity. A respected professional revealed that he was HIV negative and in a relationship with an HIV positive man for over a year. They agreed to practice safe sex, but one time, inhibitions removed while doing meth they had unsafe sex and soon after he tested positive for HIV. His now former partner "became seriously addicted but no longer uses, often seeking counseling." Another member of the chorus, attends multiple 12-step recovery support group meetings several times a day. He has been in rehab multiple times and "is still gripped by the obsession to use meth weekly after years of attempts to stop." Ten of his friends have died in the past six years from either meth overdose or suicide and he "prays every day to stop using." The final song "If You Only Knew" resonates most deeply with him, as he often sees himself in the character of Sebastian, looking in the mirror at a reflection and not recognizing his beauty as he prepares to "chase the next high." The MGMC's decision to deliver challenging but ever so uplifting works to our community in the decades to come, to look in the mirror and find the beauty in what they do as a group, even when the subject is difficult, is a pretty special way to start the next decade. Now that's a lot to relect on.

The Miami Gay Men’s Chorus will perform “Look: back, inward & forward” at the Colony Theater at 1040 Lincoln Rd., Miami Beach, Friday June 19 at 8 p.m. and June 20 at 2 p.m. and 8 p.m.. Regular seating $20, premium $30. Saturday matinee regular seating $15, premium $25. Special pricing for seniors and students with ID. For tickets and more information, visit www.miamigaychorus.org.

Editor’s Note:
Dale Penn is a founding member of the Miami Gay Men's Chorus and is thrilled to be performing in the upcoming performance.

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