It’s not often you absorb an arts funding thesis when watching a one-performer musical, nevertheless Chloe Bettina presents us with a methodical argument based on evidence collected over a lifetime. Essentially, why are actors always the amateurs in pro-am productions? Added to that are the tyrannies of aging and the fierce competition of a small pond. Things get pretty political.

As we enter BATS Stage, the lights are up and setup appears to still be underway. The Stage Manager asks for help from audience members, but as the lights change the stage manager is revealed as the main character. Murderous action ensues and a microphone suffers intolerably. An innocent third character enters and the dialogue takes us through Bettina’s complex relationship with the love of her life, musical theatre, and how it has not really loved her back. The Stage Manager’s potential victims become her therapists, and a new perspective is formed.

Bettina’s life-long experience in musical theatre shines in this complex and challenging narrative. She switches between using a PA and her unaided voice, both in dialogue and singing, with no loss of clarity or reach. She is near perfect in her singing, dealing with melodies also complex and challenging in their range and dynamics. The fluency of the entire performance is evidence of extensive rehearsal and preparation.

While the performance is impressive, the script could use some more editing. The show is funny and poignant at moments, and elicits many empathetic laughs and groans from the audience. However, the message is clear from early on and the layers of complexity do not add to the entertainment or the understanding. These are things that will probably improve with further collaboration. Regardless, Chloe Bettina is a strong emerging talent who is a true pro, even if she is not paid enough.

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