'Osama Baby' a lighthearted look at the apocalypse

If ever there were a play that invites subjective interpretation, "Osama Baby: An Apocalyptic Love Story" is one. So please bear with this humble part-time critic as I try to make sense of the philosophical, absurdly funny musical experience that took place under the auspices of a near full moon at the Montford amphitheatre last weekend. Playwright and Director Roxy Todd claims her production is not meant to be political. And, essentially the story is about hope and love. However, with a knowing wink to the audience, she offers an allegorical jab at today's world of spin politics and valueless media. "Osama Baby" invites the audience to consider the possibility that corporate media may not necessarily reflect reality, per se. The show also suggests that, perhaps, this country is not the beacon of freedom and goodwill that our leaders claim it to be. And this is all done to continuous live music and frequent outbursts of song. Set 25 years in the future, "Osama Baby," takes the current political trajectory, and paints a bleak picture of the future. In a not so distant time, the US has pillaged the Earth and thrown its cycles into confusion, ushering in the apocalypse. Essentially, we broke a tacit deal with the planet to live in harmony, and now it is "rebooting" itself, erasing the human virus. True, sometimes considering the end of the world can be depressing. But the director tells us that it need not be. No matter how deranged and dreadful the times become, hope and love survive. A marvelous amalgamation of great performances, the play showcased the many talents of its actors; who wove an entertaining web of song, political commentary and love. Lisa Abeling, brilliantly and passionately portrayed Señora, the daughter of privilege. She is the play's conduit of hope, a personification of love's resilience. Her longing for love drives her to reject the soulless, materialistic world she was bred for; and renounce her father, Mr. Grimfold, a greedy corporate lawyer, humorously portrayed by Rob Livingston. Grimfold, chief attorney for a leading nuclear power company, is, basically, "the Man." Twenty-five years in the future "the Man" is still an embodiment of a life lived for greed and in isolation. He is mean because he is lonely. Rich and sad, Livingston's character spotlights the more miserable aspects of US opulence. Also, presenting a sad state of affairs is the Barber. Played by Rick Wallace, he, appropriately, hates untamed hair, or anything else reminiscent of the counter culture. Think of this character as someone who gets all his information from Fox news. Basically, he is a perpetual hater. The Empress–who reigns over the center of the globe but seems to be akin to Mother Earth–was played with commanding presence by Naiya Cassidy. Beautiful and pissed off, the Empress has had enough of the ways of humankind. That means trouble for the surface dwellers. Because the ruler, when angry, doesn't stew in silence, she shouts, cries and creates earthquakes–Tsunami-grade earthquakes. Yes, the play is about the apocalypse; still, it's funny, enjoyable and well performed. Todd presents a theatrical production that frames present day policies and practices, and offers a figurative glimpse into possible future consequences of the current status quo. She reminds us that fear separates us from our higher faculties. And that loneliness is self imposed. Amid all that, the director extrapolates love and hope from her doomsday scenario, ending the play with a kiss, and a banner that reads "Love in the Wasteland." It is, after all, better to light a candle than to curse the darkness. If you missed the performances on the July 7th and 8th, you may be out of luck as the show ran those days only. Highly enjoyable and thought provoking, I recommend catching "Osama Baby" if it ever visits a stage near you.