LOGAN — Returning to the Utah State University campus always brings a wave of nostalgia for me. I gave my teenage daughter a short tour as we walked the familiar halls of my alma mater’s Chase Fine Arts Center to find the Black Box Theatre. It was the perfect setting for my first experience with Gutenberg! The Musical!, a show that uses satire to celebrate theatre using what’s familiar to highlight the absurd. Presented by the Lyric Repertory Company and directed by Paul T. Mitri, this musical’s is full of laughs, memorable songs, and made for a fantastic night at the theatre.
Written by by Anthony King and Scott Brown, Gutenberg! The Musical! is about Johannes Gutenberg—sort of. It’s a meta show about two hopelessly optimistic writers, Doug Simon (Stefan Espinosa) and Bud Davenport (Richie Call). We, the audience, are there listening to their pitch for a new musical about the inventor of the printing press. With little more than a collection of baseball caps labeled with each character’s name, they perform every role themselves and hope that a Broadway producer is in the audience, just waiting to pick up their show.
The Black Box Theatre is the ideal venue for this production. The intimate space eliminates any distance between performers and audience. Espinosa and Call are only a few feet away as they enthusiastically sell every ridiculous plot twist, over-the-top character choice, and ambitious musical number. Director Paul T. Mitri understands exactly how this show succeeds and keeps the evening moving at a breakneck pace. There is hardly a moment to catch your breath before the next punchline arrives.
The show uses simple hats labeled with character names like “GUTENBERG,” “YOUNG GIRL,” or “MONK.” While the hats tell the audience who each character is supposed to be, it is Espinosa and Call who truly bring each role to life. Every character has a distinct voice, physicality, and mannerism, allowing the two actors to fill the room with many personalities.
Bruce Duerden’s lighting design adds another layer of playful theatricality. Doug seemingly uses a remote control he keeps in his pocket to change the lighting and walks the audience through the way the lighting will change the moods, prompting us to “ooh” and “ahh” at the different effects. The design uses the small space to best advantage and makes the moments stand out, whether it is given a meta callout or not.
Providing the instrumentation behind Bud and Doug’s presentation is Charles, who is the only member of a wedding band that they could afford for the production. Logan Kelley plays this role and spends most of the show behind the piano along the back wall and is obviously an outstanding musician, backing up the vocals with both piano and guitar.
While the show does have good technical elements, music, and direction, the real magic of the production relies on the chemistry between Espinosa and Call, and their rapport is truly exceptional. Over the years I have had the opportunity to see both of these actors perform in a myriad of different roles, and I believe this is the best comedic acting I’ve seen either actor do.
One standout sequence is Helvetica’s heartfelt “I want” song, “I Can’t Read.” Richie Call fully commits to playing the innocent young maiden, standing in a box to stomp grapes into wine while stroking long imaginary locks of hair draped over his shoulder. Meanwhile, Espinosa is upstage, suggestively turning a large imaginary crank. The visual contrast alone is hilarious, but the number concludes with the two embracing and giving Eskimo kisses and a little giggle that had the audience roaring. It was delightfully absurd while simultaneously poking fun at every earnest romantic ballad musical theatre fans know and love.
Call then transforms completely as Monk, the show’s delightfully over-the-top villain. His number, involving a sinister bargain with the Devil in a haunted German forest, allows his rich baritone voice to take center stage. The role fits comfortably within Call’s natural vocal range, and his booming voice fills the Black Box as he maniacally strokes a stuffed cat named Satan and revels in Monk’s melodramatic villainy.
Espinosa is an equally strong vocal partner. His voice complements Call’s beautifully, matching both power and warmth while blending effortlessly during their duets. Their chemistry shines brightest during “Monk with Me,” as Monk attempts to lure Gutenberg away from the printing press by tempting him with the Church’s monopoly on literacy. The number showcases not only their vocal talents but also their impeccable comic timing, each actor elevating the other’s performance.
Gutenberg! The Musical! is satire written by theatre people for theatre people and lovingly skewers the clichés and tropes of the trade. This means it may not resonate equally with every audience member like it did for me. However, for those who appreciate musical theatre and all of its wonderfully ridiculous traditions, this production is a delight.
MORE INFO: Gutenberg! The Musical! plays at the Black Box Theater in the Chase Fine Arts Center located on the Utah State University campus, (Old Main Hill, Logan, UT 84322). Performances play through July 30th in a repertory schedule found online here with times either at 1:00pm or 7:30pm. Tickets are $48. To view more information and buy tickets, visit https://www.usu.edu/lyricrep/
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