Photo by Dan Norman
At the heart of Anthony King and Scott Brown’s “Gutenberg! The Musical!” is a hilariously deluded pair of aspiring writers, Doug and Bud, performing a high-stakes “backers’ audition” for their misguided historical epic. Their goal? To land a Broadway contract by the end of the night. To bring the inhabitants of 1450s Schlimmer, Germany, to life, the two actors utilize an array of trucker hats, each emblazoned with a character’s name. This allows them to pivot instantly between a multitude of roles, from a malevolent monk to a beautiful, illiterate young woman. This farcical retelling of the printing press’s invention is less about historical accuracy and more about the passion of musical theater itself. It is a brilliant, hat-swapping performance of comedic timing and sheer theatrical grit.
Tom Reed and Dominic Schiro, as Doug and Bud respectively, are an equally competent pair who navigate this comedic marathon with infectious zeal. Each actor is afforded his own dedicated moments to shine, embodying a dizzying gallery of characters they distinctly make their own. It is a marvel to watch them pivot between roles with little more than the swap of a trucker cap, a subtle lilt of the voice, or a slight shift in posture. They transform the stage into a playground, ensuring that every character, no matter how brief their appearance, is rendered with sharp, singular clarity. These two are so committed to their performances that you completely believe they have everything riding on this evening at the theater. The duo plays off each other with unrivaled comedic timing and vocal pipes that effortlessly fill the Ritz Theatre.
Photo by Dan Norman
Director Tyler Michael King’s notes perfectly summarize the experience as a “stupid smart” evening of musical theater. King clearly understands both sides of the footlights, and his expertise allows the chaos to unfold with both precision and uninhibited farce. He directs this production with a skill and fervor that keeps the pace breathless without ever losing the audience in the madness. It is a directorial tightrope walk that pays off, and I cannot wait to see what project he chooses to tackle next.
Supporting this duo is a four-piece onstage band that fuels the show with the technical talent and verve of any Broadway pit orchestra. They provide the backbone for a score that is both a parody of and a love letter to the musical theater genre. Sarah Bahr’s set design further enhances the atmosphere, filled with just enough intentional clutter to make the audience wonder which mundane object these two will pick up and transform next. The environment feels lived-in and desperate, exactly like a space where dreams are either made or broken.
If you are a musical theater devotee or simply someone seeking a fun, laugh-filled night out, do not miss this production. If you have never experienced a show at Theater Latté Da, this is the perfect introduction to what they do so well: finding the heart within the spectacle. This production reminds us that with enough passion, a few hats, and a lot of imagination, even the most “soul-crushing” dreams can feel like a Broadway hit. Who knew the printing press could be this exciting? A love letter to historical fiction and comedic casting, this duo is pure charisma and “stop the press” talent.
Photo by Dan Norman
