By Peggy Sturdivant

As we joined the first night standing ovation my friend said, “Touches of genius in this.” Then she poked me, “You’re going to want to write about it aren’t you?”

Over pre-theater dinner we had discussed whether accepting press tickets for Seattle Repertory’s Theater’s premier of “Lizard Boy” obligated me to write about it. We had decided I was not obligated (whether I should even accept press tickets versus a real theater critic was too weighted for discussion over appetizers).

I knew all of three things about the play before I invited Suzanne Perry, Events Coordinator from Secret Garden Books to join me as “guest plus one.” I knew the play was a musical, it was called “Lizard Boy,” and it was a one-man show. But I was wrong, so I only knew two things. I didn’t even have the right stage so at first we climbed to the wrong balcony.

The playbill immediately set me straight about it being a one-man show, despite the fact Justin Huertas wrote the play, the music, and plays the lead. It was also clear from the playbill (with artwork by Justin Huertas) and backdrop that there was a graphic novel/comic book superhero element. Then I remembered that was why I’d invited Suzanne: we had experienced Book-It Theater’s five-hour performance of “The Amazing Adventures of Kavalier and Clay” together. And loved it.

Three people began tuning various instruments on-stage, standing by even as the Acting Artistic Director and Managing Director welcomed the audience. They credited the late Jerry Manning and Andrea Allen for recognizing Justin’s talent as a student performer and commissioning the work (form unknown). Unfortunately both died before its completion.

On opening night there was no curtain, the front stage looked like it could be backstage. I think Suzanne had managed to tell me that Justin Huertas was a cello player before the lights dimmed. “I love cello,” carried more than I’d intended. She may have cackled.

Looking every bit the nerd in glasses, boxers and athletic socks Justin began bowing his cello and singing the first song, mostly solo. To hijack that line from “Jerry Maguire,” he had me at cello. Since I am not a theater critic I don’t have to tell you about the play or analyze its themes, comment on its performances. Which means that I want to.

The three actor-musicians are onstage continuously, managing the props when not interacting in character. The characters are well acted, the dialogue and delivery is funny, and ultimately moving. While I would have to hear the music again to have its melodies lodge in my head it was haunting, witty and incredibly creative through its range of instruments (cello and ukulele together!).

I never took my eyes off the stage (okay, maybe once to look for the woman with the crazy laugh). To think that this was Huertas’ first play, on its first official night, was amazing. As my friend who’s more knowledgeable about theater and music repeated on the drive back to Ballard, “Touches of genius.”

Now I know “Lizard Boy” was an idea, a journal, a play with music that became a musical. It’s a coming of age story and a coming out story. I am indeed writing about it, because the play conveys a simple but important message: everyone is different but that we all have our special powers. And to be able stage that with xylophone, children’s toy keyboard, high heel and several stringed instruments is part of its genius.

Seattle Repertory knows this message in unusual musical form needs to be heard, as we all struggle to reconcile personal identity with society, especially as teens and young adults. In order to make it available to as many folks as possible they are offering $5.00 front row seats to every performance. These tickets go on sale just one hour before every performance, are subject to availability and must be purchased in cash only.

There’s a proverb, “Never look a gift horse in the mouth.” I think it’s best to accept the gift of these tickets and the opportunity to see this musical premiere, “Don’t look this gift lizard in the fangs.”

www.seattlerep.org