Theater Review: 'Menopause: the Musical'

Jeanie Linders’ “Menopause: The Musical” is Manatee Players’ latest production. The musical itself is a long-running hit in theaters across the nation. We accept that now, but it must’ve seemed strange when the playwright first floated the idea in 2001.

“Hey, you know what? I just had an idea for a musical.”

“Yeah, what’s it about?”

“The change.”

“You mean, like, ‘The Book of Changes.’”

“I mean menopause.”

This improbable concept is now an institution. That said, it isn’t really a musical. There’s almost no “book.” While the title is “Menopause: The Musical,” it’s really “Menopause: The Song Revue.” That may seem like a strange concept. But here’s how it works …

Four broadly drawn female characters are shopping at Bloomingdales, and meditate on the change of life. Their menopausal musings become song parodies to the tune of chorus-heavy songs from the ’50s and ’60s. Think girl groups, the Beach Boys and disco. The songs remain the same, the lyrics get crazy. The comedic logic was proven long ago by Mad Magazine’s song parodies and, more recently, by the oeuvre of "Weird Al" Yankovic. As “Like a Virgin” becomes “Like a Surgeon,” so “My Guy” becomes “My Thighs.” A simple trick, but it’s funny and it works.

This touring production is directed by, well, actually, the program doesn’t say. GFour Productions is the entity responsible, and I hear tell they’ve created a “modular” program, in which mix-and-match actors can substitute roles at a moment’s notice and the timing of the scenes has been nailed down to the second. Somebody, somewhere created the directorial template. For now, let their identity remain a mystery.

I can tell you the musical features Sandra Benton as the Professional Woman, Ingrid Cole as the Earth Mother, Becca McCoy as the Iowa Housewife and Cherie Price as the Soap Star. These talented actors hit the stage with real enthusiasm. They act like they’re having fun and the audience (predominantly female) responds in kind.

As you might expect, the songs deal with body image, aging parents, plastic surgery, mood swings, hot flashes and fat. Linders has a great ear for parody and works a clever gambit by setting her pastiches to great tunes like “Change, Change, Change,” “Good Vibrations,” and “Puff, the Magic Dragon.” The audience laughs at the menopausal mirth — but still digs the golden oldies. This blast from the past serves up rocking song arrangements by GFour’s uncredited musical director and unnamed musicians. The tinny keyboard synthesizer evokes a bad “Miami Vice” episode at times. But it’s a rock concert experience all the same.

Good stuff — but maybe too much of a good thing. “Menopause: The Musical” doesn’t pause. There’s no intermission, and maybe there should be. Aside from all the audience members of a certain age dying to go to the restroom, there are pacing issues. The musical sags in the middle (no fat pun intended). But it quickly picks up again — and ends with flourish.

The pre-packaged fun is fun. Once upon a time, this musical broke a taboo. Now that the taboo is history, fun is what you’re left with. No big message. Laugh, and accept the aging process with grace. That’s about it.

To its credit, “Menopause: The Musical” doesn’t whine and moan about menopause or whitewash the transition with New Agey bromides. (“Life is change! We must accept the flow of …”) You get the idea. The musical walks the middle path. There’s a little complaining. But just enough to be funny.

Other critics have called this sexist. The women shop and worry about their body image! OK, fine, the characters are stereotypes. Since Shakespeare’s day, playwrights, directors and actors take types and individualize them. That’s how theater works. Correcting the problem is usually a matter of substituting politically correct stereotypes for the anathematized ones. Which usually makes the play boring.

If you really want to correct the stereotypes, why not “Male Menopause: The Musical.” It’s a crazy idea but …

Hey. Wait a minute.