I must admit I have never seen anything like Happy Fall: A Queer Stunt Spectacular. Leave it to the Contemporary American Theater Festival to push the envelope into all kinds of theatrical configurations and domains. The descriptions don’t do justice to the fresh new realm of theater expression that writer Lisa Sanaye Dring, in collaboration with the Rogue Artists Ensemble, pulls together. (Rogue Artists Ensemble is “a collective of multi-disciplinary artists who create Hyper-theater, an innovative hybrid of theater traditions, puppetry, mask work, dance, music, and modern technology.”)
Aubrey Deeker plays Clay as the Narrator, Master of Ceremonies, a wiry, seasoned stuntman force of nature who must be seen to be believed. Clay commandeers the set when showcasing historical snippets of stunts — fascinating — as well as describing live-action events on the set and video. Clay sometimes functions through his alternate self, a life-size, beautifully jointed mannequin that communicates through a powerful voice box, Vadar-sounding echo chamber.
Glenn Morizio’s Felix is a fresh newcomer to the stunt scene, never having set foot on a set, but with excellent skills he’s been perfecting on his own. The two are a master class demonstrating impeccable precision, especially when engaged with sharp, unforgiving knives, daggers, and all kinds of sword weaponry. Felix is graceful with strong martial arts skills. Both performers are well supported by the Ensemble (Kelly Autry, Ambria Campbell, Joanna Carpenter, Nic Coccaro, Triever Sherwood, and Maggie Wratchford). They are a thrill to watch.
The creators dig deep to show the characters’ will and psyche as they function in this thrill-seeking work. Even more than an adrenaline rush, the characters are compelled to push to the max and beyond to fulfill their sense of self. Getting the stunt just right becomes the ultimate concern while safety coordinators rush around desperately trying to keep everyone unharmed, no small feat. Felix is determined to perform the legendary highest fall no matter how many times he’s been warned that the death-defying feat is usually not a “happy fall,” one that a performer walks away from. It’s like his life depends on attempting it, no matter what.
The Ensemble demonstrates the art of falling, not just a pratfall on the floor, but actual tumbles down a flight of stairs. How they perform these real-life head-over-heels rolls down steps show after show is beyond me. There’s no sleight of hand, just real tumbles down an angled staircase. It was remarkable and surely didn’t inspire anyone to try it at home.
Sound designers slam you back to the 1980s with a soundtrack filled with Boy George, Funkadelics, and the ’80s anthem Madonna’s “Vogue,” which starts and closes the show. Projections and audiovisuals are off the charts. Fabulous scenic design by Se Hyun Oh embeds an entire dressing room into the middle portion of the set, while costumes by Andrew Jordan go from spaghetti westerns to ninjas to the ultimate ’80s party strut complete with colorful sparkles and an array of disco glitter balls that fall from the ceiling on cue.
Director Ralph B. Peña keeps up a fun, circus-like pace, especially during the historical passages where video, narration, and acrobatics blend seamlessly. As Clay and Felix find their way to each other, the lights dim, and the sound settles for the haltingly tender moments. Their moves are carefully choreographed, but in an unscripted moment, when they accidentally touch, you could almost feel the current that jolted them both in surprise. The love story is threatened by Clay’s self-protective tendency to disassociate from his feelings as rendered by his alter-ego mannequin. Just as he denies feeling physical pain, his wooden self shields his emotional vulnerability.
While Felix is younger and much less inhibited, he’s also physically and emotionally wounded but refuses to succumb to the prevalent social stigma of the time. At one point, he reveals that we are all broken, a sentiment that can easily apply to all. For the characters to get past their own psychological barriers and share their affection and love is as much a feat as their stunt accomplishments.
The program description says it all:
Based on true life events and told through live stunts, video, puppetry, and cinematic illusions, this story is a fun, raucous tribute to the resiliency of the LGBTQIA+ community. Illuminating issues of identity in the film industry, this play highlights the importance — and danger — of being true to one’s self.
And, I would add, you‘ll have a good voguing time along the way.
Running Time: One hour and 40 minutes with no intermission.
Happy Fall: A Queer Stunt Spectacular plays through August 3, 2025, presented by the Contemporary American Theater Festival performing at the Frank Center Theater, 260 University Drive on the campus of Shepherd University, Shepherdstown WV, in repertory with four other CATF plays. Times, dates, and ticketing information may be found on the CATF website or by calling the CATF box office at 681-240-2283.
Happy Fall: A Queer Stunt Spectacular
By Lisa Sanaye Dring with Rogue Artists Ensemble
Directed by Ralph B. Peña
CAST
Glenn Morizio* as Felix
Aubrey Deeker* as Clay/Clay Puppet/Host
Ensemble:
Kelly Autry*
Ambria Campbell
Joanna Carpenter*
Nic Coccaro
Triever Sherwood
Maggie Wratchford
PRODUCTION TEAM
Scenic Design: Se Hyun Oh**
Costume Design: Andrew Jordan
Lighting Design: Jiyoun Chang**
Sound Design: Fabian Obispo**
Projection Design: Stefania Bulbarella**
Associate Projections Design: Eli Garmon
Stage Manager: Taeuk Kang*
Assistant Stage Manager: Esther Chilson
Casting: Pat McCorkle LTD.
Fight Director: Aaron D. Anderson***
Associate Fight Director: Cara Rawlings
Stunt Specialist: Frank Alfano
Intimacy Director: David Anzuelo***
Dramaturgs: Harris Kiernan, Amrita Ramanan
*Actors’ Equity Association
**United Scenic Artists
***Stage Directors and Choreographers Society
SEE ALSO:
Contemporary American Theater Festival announces full 2025 lineup (news story, March 31, 2025)
