‘Small Steps’ is a bold, eccentric trip across the cosmos

Stop me if you’ve heard this one before. A queer man’s lovelife is so hopeless that he seeks to escape the only way he can…by becoming the first man sent to Mars. This whackadoodle premise is the latest from stalwart theatre exemplars at Shrewd Productions, along with the unique mind of writer Briandaniel Oglesby, titled Small Steps, which follows the journey of the ludicrously named Skip Powers, a man so down on his luck in love that he’s looking for any way out, up to and including risking death in a journey to deep space, which the wacky folks at NASA (the National Association of Space Astronauts) are all too willing to provide. Along the way we’re introduced to a cadre of unique individuals, from an AI Club Mom, to gay Neil Armstrong, journeying from lonely California apartments to the very surface of Mars itself, hangling loosely from the very fabric of sense itself all throughout the process.

Small Steps is silly, there’s no getting around that. It takes very little seriously, and its jokes come at roughly 90 miles per hour. It can be an exhausting watch, but if you can get on its wavelength, you’re in for a fun ride, even if the play does feel its length by the time its two and half hours are done. Indeed, some trimming in the second half would have been beneficial, as moments slow to a crawl once we reach the depths of space, but even here there’s some true diamonds, such as a sock puppet version of a Shakespeare classic that nearly had me on the floor. Despite its flaws, I’m not sure I’ve laughed as hard or as often at a work in some time, and one can’t deny this is a singular vision.

A play this eccentric could easily fall to pieces in the wrong hands, but luckily one thing director Braxton Rae and the cast of “Small Steps” bring is full commitment. No matter how silly, unusual, non-sensical, or downright embarassing the material may get, each of the performers are selling it with all their heart. This play asks its actors to partake in some of the most ridiculous moments I’ve seen on Austin stages, but they take them with aplomb. Of particular note here is Trey Deason, who throws all inhabitions to the winds to give one of his career best performances, portraying everything from a harried office-worker to a promiscuous “cuddle buddy” and imbuing them all with an awkward likability that’s incredibly winning. Similarly, Andy Shaw waltzes through several different guises throughout, wielding his unbridled charm like a lethal weapon, showing such a confidence on stage that he makes even the most ridiculous moments work wonders.

Also stepping up to the plate is Jen Brown, who’s a delight every time she appears. In particular, her role as an Abstinence Coach brings some of the biggest laughs, as her hard edge mixes with an unleashed absurdity to create something truly outrageous, and the play knows exactly how to wield the character, having her burst into scenes Kool-Aid-Man-style in several shockingly hilarious moments. Brown’s ability to sell the bit is almost unmatched throughout, playing perfectly againsts the more grounded qualities of Dane Parker’s straight man, but Brown also upends the table to create a surprisingly poignant button for the play’s finale.

This ridiculousness has to grounded in something, and there are basically two fulcrums holding the action firm. The first is the always solid Shannon Grounds, who here, much like many of the performers, wears many faces, and what she brings to each is an assuredness that makes even the most fanciful of them believable. One of Grounds’ greatest talents is her ability to bring humanity to any role, and here she delivers even on strange ground, whether she’s playing the exuberant “Principal of NASA”; a 40-something clubbing AI; or, her best role, a world-weary doctor. Some of the truest emotion in the piece comes from the comforting conversations between our lead Skip and the jaded Dr. Darla, which create a sense of comfort in a sea of lunacy that’s quite refreshing, and it’s to Grounds’ credit that these work while never feeling out of place amongst all the nonsense.

At the end of the day, Small Steps would not work without Dane Parker bringing his charm and wit to the role of Skip Powers. There are moments that fall entirely on to his shoulders to keep the audience entertained, and even as the play hits lulls going into the second half, Parker never stops giving his all. He’s never short of likable, even when his character is being painted with a very negative brush, and the instant chemisty he creates with nearly every actor in the play makes each scene he’s in shine.

One can tell early on that Small Steps is a labor of love, that everyone involved cares deeply about creating something truly special, and on the whole they succeed admirably. It overstays its welcome, stretching some scenes too thin, with jokes that don’t always hit, but it’s never short of audacious, original, and so uniquely itself. Like so much of Shrewd’s work, its a singular experience that feeds a need that you won’t find fulfilled elsewhere, and for that it’s worth any missteps along the way.

Small Steps is playing at Hyde Park Theater through August. For more information, and to purchase tickets, visit shrewdproductions.com.

All photos courtesy of Errich Petersen Photography.