As it heads into its second weekend, Jubilee Theatre has a gem on its hands with the romantic musical Klook and Vinette. Che Walker’s story, with music and lyrics by Anoushka Lucas and Omar Lyefook, centers solely on the titular characters while also painting fully realized characters that feel both empowered and flawed. Unlike any movie rom-com, Walker’s romance here, directed by Khira Hailey, was a hefty mix of good and bad – just like real life.
The show began in a scene where Klook finds himself with a gun in hand and police siren lights shining through the window. The show opens with a lament sung by actor Brian Gibson delivered with a pained reckoning that his life would end up in this moment. This shifted backward in time to the meet-cute Klook has with Vinette played by Tamya Simmons at a cafe where they bond over carrot juice.
The characters meet with a bit of flirty conflict. This first scene with both actors delivered small details that helped paint the full picture Walker wrote. She’s a vegetarian, he’s older. These details gave the show a charm in getting to know each character.
As the two learn more about each other and uncover a romance that’s both empowering and passionate, Gibson and Simmons peel layers from their characters’ protected exteriors.
Gibson was a dynamic mix of stoic and sweet. Klook is tough with street smarts which Gibson delivered with astute intensity. Also, many props for his comedic timing which was always an unexpected refresher. When Klook’s focus was on Vinette, their bedroom scenes particularly, were tender and alluring through playful teasing and horny action. Through Gibson’s performance, Klook was the kind of man we all want to meet in a cafe.
Walker didn’t create two opposites that found love and all was happy ever after. Instead, Klook and Vinette were similar in many ways. They never felt too damaged or broken, but perhaps just defeated from all the bullshit and this romance gives them both hope. Walker’s story along with these actors’ chemistry recalled Streetcar energy with its sultry but tense dynamics.
Thus, Simmons’ portrayal didn’t have to work opposite Gibson’s. Instead, she matched the wavelength and brought Vinette’s own perspective. This gave the show realism and grit and Simmons navigated her character through a broad spectrum of pride, crushed ambition and sanguine outlook.
Hailey directed the show with a tender hand. Even at just about 80 minutes, the play breathed easily without the rush of filling in all the details of each character. Less a musical and more a play with songs, each number expanded the dialogue rather than bursting out of the story. Geno Young’s music direction was subtle which led to the actors shifting effortlessly into song.
The show was a quiet delight with characters easily relatable in some aspects. These two performances gave Klook and Vinette its power and drama. The silver lining was the magic found in the more nuanced, intimate moments in between.
The show runs through Aug. 30.
–Rich Lopez