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1. Welcome
STEVE COSSON

3. Review: ‘Gone Missing,’ Now a
Poignant Reminder of a Life Cut Short
The two-night revival of “Gone Missing” at New York City Center is
both a very good show and a very bad, very cosmic joke. Because
this documentary song cycle is about loss: of minds, rings, a dog,
the hour badly spent. And the irretrievable loss, the one you can
hear in pretty much every plink and strum from the onstage band,
is the loss of the show’s composer, Michael Friedman, who died a
year ago from AIDS-related complications. Which makes “Gone
Missing” an accidental and indispensable elegy.

5. The show, which has a book by Steven Cosson, was
originally created and performed by The Civilians
theater company in 2003. It was built on more-or-
less verbatim interviews that company members
conducted with both people who have lost things
and people whose job it is to find them. Mr. Cosson
arranged the interviews into a series of monologues,
and Peter Morris dreamed up some public radio-
style segments, while Friedman composed songs
that expanded, sweetly and tartly, on the themes
that emerged.

7. The songs range — any Friedman score (“Bloody
Bloody Andrew Jackson,” “The Fortress of
Solitude,” “Pretty Filthy”) is almost necessarily
rangy — from mariachi to Burt Bacharach bossa
nova. Some of the anecdotes that connect them
are cute, and some are alarming. Good luck
forgetting the crack about a “Colombian necktie.”
Most are funny, including a prized bit about an
actress who lost a shoe at P.S. 122 back when it
was still called P.S. 122.

9. As the cop who defines the Colombian necktie says, sometimes
humor is the only way to meet horrifying loss: “You got to laugh.
You just got to laugh.” Ken Rus Schmoll directs a six-person cast
for this production, part of the Encores! Off-Center season: Taylor
Mac, Susan Blackwell, David Ryan Smith, Deborah S. Craig and
John Behlmann, alongside the longtime Civilians member Aysan
Celik. The setting is minimal, the costumes pleasantly generic,
Karla Puno Garcia’s choreography decidedly low profile and Mr.
Schmoll’s direction affectionate and barely there. The actors still
carry scripts, though that is no bar to Mr. Mac’s dangerous
enthusiasm or Ms. Blackwell’s mild-mannered insanity or Ms.
Celik’s infectious disdain.

11. I saw “Gone Missing” at the long-gone Belt
Theater in 2003 and then again a few years
later at the Barrow Street Theater. Listening
on Wednesday night, I was thrilled to
discover that I remembered every single
song, though I hadn’t heard them in more
than a decade.

13. This is a thing about Friedman’s
compositions. In the moment, they can
seem disposable pastiche. But their
lightness is indelible. There’s surprise in
the way that the recognizable signatures
play against the brainy, wrong-footing
rhymes.

15. That said, the songs don’t sound the same.
We’re all 15 years older (those of us who got to
grow older, anyway), and the points of impact
have shifted. Hearing them, I felt a happy-sad
nostalgia, not only for the composer himself but
also for the theater scene that birthed him —
those theaters in the East Village and the Lower
East Side and those post-show bars, many of
them now gone.

17. At the Encores performance, I caught some jokes
that had whizzed past me before. From the
Gershwin-ish “The Only Thing Missing”: “Think
what my nephew Chris/ Just lost at his bris.”
Because yes, ha ha ha, foreskin. But also, who
names a Jewish kid Chris? And don’t tell me
Friedman needed the name for the rhyme,
because he could rhyme anything. I give you
“Etch A Sketch,” a song about memory loss,
which pairs “tabula rasa” and “Kinshasa.”

19. I heard something else in that song, a
rhymed chorus that didn’t really rhyme:
“I’m an Etch a Sketch (But now I’m all
shook up)/ I’m a piece of wax (But now
the imprint’s lost.”) That slant rhyme
makes the song deliberately unfinished.
It’s up to us listeners to make it whole.

21. There was audible sobbing during “Etch A
Sketch” and more during the final song
“Stars,” which has a verse so apt it’s pretty
much unbearable: “So when I leave you,
you’ll know, I’m just a shadow, an echo/
You never possessed me/ Never
possessed me.” That song ends in a half
cadence, forever unresolved.

24. For More Information Visite The Link
https://www.stevecosson.com/