Oceanside Theatre Company Begins the Theatre Year with the World Premiere Musical “Dead Moose”
I think there is absolutely nothing unoriginal about this project. Created by Tyler Tafolla, who did it all, book, lyrics, music, and is directing the piece, which in 2018, had a showcase of some of the songs written for the musical, and only one made it into the final version. Last year, there was a staged reading at the City Heights Performance Annex. But truly, it took Tafolla 10 years to bring “Dead Moose” to full production.
18-year-old Job (Danny Holmes) wakes up in the hospital after a road accident where he killed a moose. Once out of the hospital, the spirit of the moose (Chase Lowary), follows Job, taking him on a journey a la Christmas Carol, not with present, past, and future necessarily, but through a number of vignettes showing different chapters and characters in his life: Sister Joy (Salima Gangani) and her partner, an obnoxious, macho Hank (Joshua Powers), school friend/crush Mabel (Lyric Boothe) and Christian Mingle date Candy (Audrey Deubig). Each vignette is clear and gets the audience on a learning curve about Job and his life through dialogue and song. Normally, when a musical debuts, the songs need work and threading. In the case of ‘Moose, I consider the work needed to be minimal, as aside from the songs having harmony between the music and the lyrics, they hold much truth and are relatable. Also showcasing each performer’s vocal abilities courtesy of Van Angelo’s musical direction. The highlights for me were “An Unanswered Prayer” (this one hit deep), sung by Salima Gangani with feel and range, “Fog and Telephone Poles” performed by Lyric Boothe as the troubled and truthful Mabel. “Thanksgiving,” which “gave” with the full company, who also performed Chloe Chenfeld’s fun and lively choreography, “A Version of You” with brother/sister Joy and Job, “Happily”, performed by Audrey Deubig, who delivered a hilarious Candy with a beautiful, solid voice that made one of the standout vignettes and “The Prayer” sung by Danny Holmes, who is back at OTC after his role of “Gabe” at the 2024 production of Next to Normal. Same as Gangani, who played Natalie in the same production. It is always nice to see actors’ voyage through the stages.
My one note would be that sometimes it was challenging to make out some of the lyrics and dialogue.
The cast has a strong rapport, and Holmes has great scenes with each member. The ones with Chase Lowary as the cynical yet spot-on moose are raw and full of reflection, with several topics the playwright puts on the table, such as faith, religion, death, family relations, and life. Even though the role of Hank, as I mentioned at the beginning, is macho and obnoxious, Joshua Powers gives it a comedic flair that, although it does not detract from the wrongfulness, brings plenty of laughs. Lyric Boothe is powerful as Mabel, bringing just the right beat to each of her felt scenes. The full-circle moment in each of these scenes is Kevin “Blax” Burroughs’s lighting, which contours the vibe, livening and accentuating it. Burroughs has had great lighting moments in various productions, but this design is among his best.
Audrey Deubig and DannyHolmes. Photo Esteban Marin.
Tafolla also serves as the production’s scenic and projection designer, with a couple of moose heads projected as backdrops, roadways, and coffee shop settings, creating an artistic frame that is truly fitting of the story.
Zoë Trautmann’s costumes are youthful with jeans, sneakers, and boots. The concept for the Moose wearing all brown with tints of yellow was great. I also liked some caps with horns that were used, which were fun. Nate Cargill’s props were a great element in landing the scenes, with colorful fans (one of them majestically handled by Chase Lowary), candles, and lots of coffee drinking.
OTC’s production of Dead Moose is proving hard-felt work, creativity, and room for new pieces that need to be told with fresh perspectives and angles. In this case, also breaking out in song. Congratulations to all at OTC as the theatre year has started on the right foot.
Bring tissues.
Performing until February 1 at the historic Brooks Theatre (which is getting a well-deserved makeover).
Keelyn McDermott makes her OTC debut as stage manager for this production.
