Make way Katy Perry, there’s a new diva in town.
Joe Folladori — musician, song writer, one of Catastrophic Theatre’s core artists, leader of Houston’s former cult indie-band The Mathletes — has arrived center stage in the persona of Sophia, and the star wattage is blinding.
Playwright Folladori identifies as “high-fem, Christian, bisexual, Democrat,” as does avatar Sophia in Catastrophic’s world premiere musical Katy Perry Candy Darling Mary Magdalene. Although surrounded by veterans of this fabled troupe, Folladori is a one-man show. The supporting cast (Juan Sebastian Cruz, Mara McGhee, Jeff Miller, Erin Rodgers, Alli Villines, Abraham Zeus Zapata), using their own names for the characters, impressively rock through the musical numbers by both singing and playing their own instruments: guitar, bass, synth, drums, flute, tambourine. But it’s Folladori’s show from the get-go.
In form-fitting leopard-print dress (later in gauzy white), Folladori leads the pseudo-rock band Bird Murderer on a quest for the perfect song. They want a hit. They’ve scrounged enough money for an hour’s rental in a recording studio run by an acerbic Cathy Power (with sound engineer Chris Bakos), who’s seen far too many lousy bands to even care anymore. Power interrupts her barbed comments by counting down the remaining minutes of their session.
The band covers hits from the cult Velvet Underground (that’s the reference to Warhol’s trans “superstar” Candy Darling), or pop diva Katy Perry, or originals from Folladori, but they can’t get it together. They bicker and fuss, don’t sing very well, but that’s the apparent joke in Act I. The shtick goes on and on, and we fear this amateur hour is all this show will become. Jeff Miller, as guitarist Jeff Miller, livens things up with his whining about loathing synthesizers, but his short tantrums can’t salvage this slow moving tug.
But at the beginning of Act II, something astounding happens. Folladori becomes serious, and the show takes off.
Still bitchy and clever, dropping Oscar Wilde bon mots like breadcrumbs in the forest, Folladori tells of his deep admiration for pop-star deluxe Katy Perry. Yes, she’s a commodity, an institution created for selling merch, a poor lyricist and worse dancer, but she connects with this older “stan,” who’s splurged for a professional makeover, exclusive tickets for a front row seat, and a photo op with the star. Sophia is electrified, not so much for Perry’s manufactured authenticity as her ecumenical embrace of the LGBTQ fan base.
Alone at the microphone, Folladori’s stand-up routine is straight-forward, poignant and piercing. Sophia dissolves, and we’re left with Folladori brushing back the strands from the long black wig. Now it’s Folladori, uncompromising, who connects directly with us.
Then it’s back to making music, and this end sequence, too, goes on too long, although Folladori’s songs throughout are quite accomplished with their edgy lyrics and earful hooks. The “Mary Magdalene” number is infectious as it romps through her contorted historical reputation, clarifying Folladori’s theme that everyone must make their own history. Perhaps a book musical lies in the future? We hope so.
Briskly directed by Catastrophic’s Producing Artistic Director Tamarie Cooper, given a lively set by Afsaneh Aayani, quick-cut projections from James Templeton, and punk band costumes by Macy Lynn, Katy Perry cries out for crisp editing. The show runs almost 2½ hours with intermission. Even the charismatic Folladori doesn’t need that much time to work his magic.
Katy Perry Candy Darling Mary Magdalene continues through March 7 at 7:30 p.m. Thursdays, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays and 7:30 p.m. Monday, March 2 at Catastrophic Theatre at MATCH, 3400 Main. For more information, call 713-521-4533 or visit matchouston.org. Pay-what-you-can.