Review: THE ROOM UPSTAIRS Closes Street Theatre Company’s 20th Season

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Running June 12-27 at the Barbershop Theater, Street Theatre Company’s THE ROOM UPSTAIRS is a sight worth seeing.

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On June 12th, 2016, a gunman claimed the lives of forty-nine lives at the Pulse nightclub in Orlando, Florida. It is the deadliest attack on a gay club in US history. Ten years later, Street Theatre Company opened their final show of their twentieth season. Max Vernon ’s The View UpStairs was inspired by the 1973 arson attack at the UpStairs Lounge, a gay bar in New Orleans. Until Pulse in 2016, the UpStairs Lounge was the site of the deadliest attack on a gay club with thirty-two victims. In the show, a young man named Wes purchases what’s left of the lounge in the present day, only to find himself in 1973 before the arson attack. Despite the real-life tragedy, it was important for the show to contain as much joy as possible. Before the show even begins, the space and performers make you feel welcome so you can feel the same joy as the characters. Running June 12-27 at the Barbershop Theatre, Street Theatre Company’s The View UpStairs is worth every inch of the view.

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As soon as I stepped inside that tiny Barbershop Theatre, there was this warm atmosphere as I walked across the stage to the bar on the set, which also served as the concessions stand. My head was turning all over the place as I viewed Garner Harsh’s scenic design. I have been to plenty of bars, and the attention to detail on this set was incredible. It was so good that I forgot I wasn’t actually in a bar on the second floor. I liked the inclusion of flat screens on the ceiling that changed images throughout the show. Why were they on the ceiling? Was it because they would look out of place on the walls of a bar in 1973? Were they meant to be a literal view upstairs? Was it meant to represent how most of the characters would end up in heaven? Who knows and who cares? What I do know is that everyone on the production team outdid themselves. Katie Grant ’s lighting design was so good that I forgot that the windows on the side of the stage were fake and not actually overlooking a street at night. Jacob Allen’s sound design was on point, especially with the scene where we learn about the arson attack (minor spoiler and trigger warning). The sound of a bell ringing during a piano performance was enough to send shivers down my spine. Lauren Yawn’s prop work fits right in with the 70s setting, and since we’re supposed to be living in the setting as if it were the current day, the props and location feel current rather than dated. I don’t know how they did that, but I like it. The same can be said about Melissa Durmon’s costume design. Yes, we do see some modern clothing thanks to main character Wes being a fashion designer in the present day, but even the clothes from the 70s feel timeless. Honestly, if I didn’t know that the show was set in the 70s, I would’ve thought that I had stepped inside any other gay bar. I was impressed by how Anna Perry was able to choreograph anything in that tiny space. They were moving chairs around for a musical number like it was nothing. Makai Keur’s music director was flawless. And speaking of flawless, director Deonté L. Warren beautifully balanced joy and tragedy. According to the Director's Note, “Presenting The View UpStairs during Pride Month carries a special significance. Pride is a celebration, but it is also an act of remembrance. It asks us to recognize those who came before us, acknowledge the sacrifices that made today’s freedoms possible, and continue building a world where all people are afforded dignity, safety, and belonging.” Even with the reminder of the hatred that the LGBTQ+ community deals with to this day, Warren makes everyone feel safe and loved inside that tiny theatre.

When I stepped onto the set to get some wine at the bar, some of the cast members were walking around and interacting with audience members. One of them, Leon Blandon, went up to me in full character and asked if this was my first time at the UpStairs. Like any other actor-turned-critic, I went along with it and acted like a first-time patron. He welcomed me and told me to stick around for “Freddy’s performance”. I was also given the option of wearing a feather boa so that the actors could interact with me, which I gladly accepted. It certainly gave the show that extra layer of joy. Everyone was just so fabulous, and they played off each other very well. Aaron Catron might have the shortest stage time as a realtor and a cop, but he makes it count. The realtor is barely onstage for a minute, and yet he hams it up to the point where you want more. As someone who has met Aaron, I could tell he was acting his butt off as the homophobic cop because he’s just one of the sweetest people I’ve ever met. I don’t know what it is about Jack E. Chambers as Richard, but I could tell just by looking at him that he was going to be one of the sweetest characters in the show. He gives off this safe energy as the priest who stays level-headed in the worst situations. Casey Hardin is magnetic as Inez, a single mother who supports her son’s drag career. Given how so many members of the queer community are often shunned by their families, I’m sure audience members in the same boat would feel safe and loved just by watching Casey as she cares for everyone in the bar. And speaking of her son, I couldn’t get enough of Tristan Valdez as Freddy. This was my fourth time seeing him at Street Theatre, and he never disappoints me. Whether he’s interacting with his stage mommy or rocking some high heeled boots, Tristan brings the house down. And man, those vocals of his. I adored the no-nonsense attitude of Hannah Arn as Henri, the bartender of the UpStairs. I’ll admit that I’m a sucker for a tough-as-nails character with a soft side, and Hannah nailed it. Oh, and her vocals are killer. Jerry Sims is complex and intriguing as Buddy, the closeted piano player. On one hand, you hate some of the stuff that he says. On the other hand, you understand that he’s dealing with his repressed sexuality. I thought Jerry balanced that flawlessly. Leon Blandon, the actor who welcomed me before the show began, played the fabulous Willie. This could’ve easily been the most stereotypical gay character ever, but Leon brings so much heart to Willie as he keeps everyone’s spirits up. I felt safe around him, even though I barely knew him.

As is the case with most of my reviews, this is where I specifically highlight some particular performances. I was entertained and touched by everyone in the show, but I felt the need to highlight these three remaining actors in one paragraph. The first one I’d like to mention is Payton Justice as Dale, a troubled patron who feels unseen. I’m not going to spoil Dale’s storyline or mention who he may or may not be based on, but he rubs nearly every character the wrong way. Still, there’s this vulnerable side of him that he struggles to show to others. Payton’s performance was enough for me to feel bad for Dale, and his song “Better Than Silence” is pretty relatable to those who’ve felt misunderstood. Evin Baylis Jr. is stylish and hilarious as Wes, a modern-day fashion designer who is transported back to 1973. Like Willie, Wes could’ve been an extremely stereotypical token gay character that we get in so many teen dramas nowadays. However, Evin balances the humor and emotions in a way that is just as flawless as his eyeliner. Even when he’s referencing social media, he fits right in the bar from 1973. By the time the show is over, you can’t help but love him. And finally, we’ve Lucas Beckett as Patrick, a patron who almost immediately takes an interest in Wes. I’ve loved every interaction between the two, even when things get heated. I won’t go into Patrick’s backstory, but it was enough for me to ‌want to hug him. Like so many members of the queer community, he has faced so much rejection, and he’s just trying to get by. Despite his hardships, he gives off this sunny personality that you can’t ignore. Lucas very nearly stole the show for me. It wasn't the craziest vocals or the sickest moves, but rather the way he presented himself without saying a single word caught my attention. His body language alone told a story, and his cheerful tone made me smile a few times. He comes across as the kind of person that you’d want to get a drink with, which fits perfectly with the show’s message of finding a place to belong.

The View UpStairs runs June 12-27 at the Barbershop Theatre. Get your tickets now!

Photo creds go to Alex Hopper Craft.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/nashville/article/Review-THE-ROOM-UPSTAIRS-at-Barbershop-Theatre-20260614)._