Theater review part deux: Trogg! A Musical at KD Studio Theatre in Dallas

by Christopher Soden of Christopher Soden, Dallas GLBT Arts Examiner

Trogg is over-the-top spoofery and the more excessive and far-fetched, the better.

How could you not savor the range, flexibility, ingenuity and gusto of Level Ground Arts? Every new season they push the envelope, staging everything from homage to pathos to comedy to high camp, often combining them in loopy, satisfying mashups. Currently hoppin and bobbin at LGA is Trogg! A Musical! (playing at KD Studio Theatre in Dallas through December 3), a spoof inspired by the 1970 British film Trog (directed by Freddie Francis and featuring Joan Crawford in her last big screen appearance.) I can’t vouch for how closely Trogg! follows the original source material, but I can tell you it’s delightfully silly from start to finish, brimming with lively nonsense and comic bliss.

In a small, seaside California town, a group of teenagers discover a defrosted caveman. Among them is Barbara Cannon, daughter of leading anthropologist Joan Cannon (“Joan Crawford” as played by Michael Moore). Dr. Cannon, with the help of her paleontologist assistant and maid, Carol Ann, brings “Trogg” to her laboratory, where she can study and educate this mystery man, who might just be “the missing link.” Carol Ann (wonderfully played by Marcus Jaurgui) is far wiser than her scientist friend, and every time she slaps her around, you wish Carol Ann would deck her. Mayor Jonas Huntington, convinced Trogg could terrorize the town, inexplicably moves him to the zoo. The teenagers rally to free Trogg, obviously a gentle soul, whose growling masks a tender heart.

Providing a great deal of brilliant, improvised, accompaniment for the numerous songs are The Band: Thiago Nascimento (keyboard), Michael Ragsdale (guitar), Tyler Hagen (bass guitar), and Patrick Herring (drums). It’s not easy to describe the crazy rush you feel when you see the actors rocking out with Emily Shaw’s Love Generation choreography and jamming with Trogg, who sports a long black wig and leopard loincloth. Needless to say, Trogg is over-the-top spoofery and the more excessive and far-fetched, the better. There’s more than a little cross-dressing mischief going on, what with two of the female leads being played by men, and the Sheriff being played by the versatile and talented Ande Bewley. What better to set the tone than Moore’s send up of Joan Crawford, the strong lady who always comes off as a little off-kilter, and very possibly deranged? From the first time I saw Moore work his drag magic I’ve been bowled over by his skill, éclat, and impeccable timing.

Amongst the consistently enthusiastic, convivial cast members, Cassidy Crown (Peanut), Jared Brewer (Rex Huntington), Marcus Jaurgui (Carol Ann), and Robert Shores (Pops) made notable contributions. Brewer is quite amusing as the privileged-class boyfriend and Jaurgui’s spin on the long-suffering African American companion speaks volumes on American film culture and its seemingly never-ending struggle to depict subtle, authentic characters. Carol Ann’s probably the smartest one in the room, and the most humble. Jaurgui’s work here is charming and hilarious. Crown’s performance as Peanut reminded me of the girl comics (such as Trudi Ames) featured in Surfer Beach Teen movies of the '60s. Crown’s manic, hormones-run-amok bits provide some of the best moments in the show. Somebody call Dr. Ruth! (Or Joyce Brothers.)