October 29, 1999 – GAY PEOPLE'S CHRONICLE 13

eveningsout

A clean-cut romance in Greenwich Village

Broadway Damage Directed by Victor Mignatti Wolfe Video

Reviewed by Denny Sampson

Broadway Damage is a low-budget gay romantic comedy that has recently been released on video. It tells the story of a trio of twenty-something New York University grads struggling with the issues of career and love in the harsh reality of life in the big city. Carefully avoiding socially relevant topics such as coming out, homophobia, and AIDS, this film offers a lighter view of gay life.

The characters are both fun and lovable. Cynthia is a witty, overweight, "fashiondamaged" compulsive shopper who abuses Daddy's credit cards to support her addiction. Since no entry-level job is good enough for her, she fantasizes about working for magazine editor Tina Brown and dreams up endless schemes to meet her (think Lucy Ricardo). To the film's credit, Cynthia is not in love with her gay roommate...

Marc, a marginally talented, exceptionally handsome actor who makes a living selling theater tickets. A relentless optimist raised on show tunes, Marc believes that life should be more like a Broadway musical. He seems to be an innocent, somewhat naïve, boy next door until he does "guy stuff" with a super to secure a lease on a vermin-infested apartment in Greenwich Village. He might be a boy who lives next door, but he's hardly

innocent. Marc doesn't know it, but he is deeply loved by ...

Robert, Marc's best friend. Robert is a truly talented, sexually repressed young man who dreams of writing the next great American musical. A

bit of a nerd, Robert hides his romantic feelings for Marc. This is because Marc only dates perfect "10s" and Robert sees himself as a "4." But their friendship works as long as Marc is content with one-night stands that is, only until Marc

meets ...

David, Marc's neighbor. David is an aspiring rock star, with the looks and talent to be on the cover of Billboard magazine. David and Marc meet, fall in lust, and are about to consummate their tentative union when David reveals that he already has a lover, although they are "kind

of" breaking up. If Marc hears the warning bells, he ignores them. It must have been all that testosterone. Marc falls for David with the kind of abandon that would make Judy Garland proud.

Although the cast is composed almost entirely of newcomers to the screen, the acting is exceptionally good. Each character's portrayal is interesting, believable, and sym-

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pathetic. The only potentially recognizable name in the case is Maria Hobel (Cynthia), who is best known for playing a young Christina Crawford in Mommy Dearest. Hobel, though a scene-stealer, is very funny and very good. With his talent, looks, and charisma, Michael Shawn Lucas (Marc), has real star potential. Undoubtedly, the film's greatest strength is its cast.

Victor Mignatti, who wrote, directed, and edited the film, deserves credit for a refreshing premise that optimism can prevail in a city where cynicism is considered cool. With the spirit of an MGM musical, Broadway Damage offers welcome relief from the serious issues in gay and lesbian communities. However, this is Mignatti's first featurelength film, and his inexperience is evident in the final product. Although certainly witty, many of the lines aren't very funny. The

transitions from scene to scene are abrupt and annoying. Important developments in plot were left out.

The unrealistic ending leaves one wondering, "How did that happen?” and “Why did Mignatti try to write, direct, and edit the whole thing without some experienced collaborators?"

Broadway Damage could have been a much better film. However, it is a fun, lowkey romance for a Saturday evening at home with a special someone, or with a few friends. It's not Trick, but it's nice fluff.

Michael A. Thomas

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The good stuff is in the middle

Breakdown

Melissa Etheridge Island Def Jam

Reviewed by Harriet L. Schwartz

The best way to listen to Melissa Etheridge's new album Breakdown is by starting in the middle. That's where the good stuff is.

Sure, the opening songs on Etheridge's sixth album will satisfy her long-time fans, who are just glad she's making music again after taking a few years off to have children. However, the opening songs, including the title track, "Angels Would Fall," and "Enough of Me," are all very Melissa Etheridge. She's talented, so that's not a bad thing; however,

ESSIJÓW

these songs don't reflect the artistic growth found elsewhere on the album.

Many of the songs on Breakdown are respectable, and at times catchy, rock songs the kind Etheridge has written before and the kind that are likely to position her among respected, yet predictable artists like fellow heartland rocker John Mellencamp. However, "Mama I'm Strange," "Scarecrow" and "How Would I Know" show Etheridge writing and performing on an entirely different and more captivating level.

"Mama I'm Strange," is more interesting musically than the average Etheridge song.

With a funky groove and more urban feel in the verses, this song capitalizes on Etheridge's dynamic strength in the choruses, rising to an emotional run with "Mama I'm strange/I'm descending pretending I'm blending/I'm going insane/and they want me to change."

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Then, in one of the most brave and brilliant moments of songwriting career, Etheridge delivers "Scarecrow," her commentary on the violent death of gay college student Matthew Shepherd. Explicit and astute, "Scarecrow" is sort of like Schindler's List, it tells a story that needs to be told; however, the song's graphic nature makes it almost hard to revisit.

In the latter part of "Breakdown," Etheridge shows a new level of musical maturation, refraining from her typical all-or-nothing vocal style and instead finding power in a more subtle delivery with songs like "How Would I Know" and "My Lover."

Finally, Etheridge shows continued growth as a lyricist, delivering emotion-filled rock and roll that explores relationships and life's changes. "Angels Would Fall," Etheridge's first single off the album, declares "I've crept into your temple/I have slept in your pew/l have dreamed of the divinity inside and out of you/I want it more than truth/I can taste it on my breath/I would give my life for just a little death."

Harriet L. Schwartz is a Chronicle contributing writer living in Pittsburgh.

ISLAND

Etheridge

Etheridge shows continued growth as a lyricist, delivering emotion-filled rock and roll that explores relationships and life's changes

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