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The first act is a musical rendition of a typical Jerry Springer show. The very first person we meet is Steve, Jerry's popular head of security on the show, who here is standing guard in the auditorium even before this show begins. Then on to the stage comes Jerry's warm-up man, to give the stage-audience their directions and get them in the mood for the show. Then, out comes Jerry to an enthusiastic reception and the show begins. The first guest is Dwight, who is cheating on his fiance Peaches with her best friend Zandra, and lady-boy Tremont. Then we have Montel, a black man whose revelation for his girlfriend Andrea is that he wants to be her baby, literally, diaper and all. Moreover, he's been rocking the cradle with baby Jane. During a break in the show, Jerry fires his warm-up man, then moving on we meet Shawntel who reveals to her boyfriend her ambition to be a pole dancer. But boyfriend Chucky has been a few keeping secrets of his own, he spends his time away from her at strip clubs and he's a member of the Ku Klux Klan. Suddenly the stage is full of klan members, and the bitter sacked warm-up man presses a gun into Montel's hand, inciting him to fire on the klan members. Montel fires, misses, and Jerry is hit in the chest.
Wounded Jerry is confronted by satan, in the guise of his former warm-up man, and dragged down into hell, where satan wants him to host a special show, taking his cues from cards which satan provides. The first guest is satan himself, bitter over his expulsion from heaven. He wants to be reinstated in the ranks of the angels, but first he wants an apology. Cue the next guest, Jesus, to fight the opposing corner. As the argument unfolds other guests on the Jerry Springer in Hell show include the virgin Mary, Adam and Eve, and the Archangel Gabriel. All prove to be no better than the guests on Jerry's earthly show. Satan insists the Jerry must wrest an apology from God or burn in hell for eternity. For Jerry it is an impossible task, he is doomed it seems. Then God himself arrives and Jerry becomes the subject of a tug-of-war between God and Satan. Then Jerry awakes, back on the stage of his earthly show, collapsed on the floor due to his gunshop wound. He delivers his closing address, then loses consciousness.
From the start this has been a controversial show. On my way into the theatre I had pressed into my hand a so-called Christian leaflet decrying the show. The last paragraph of this leaflet reads "Yes, the author of this leaflet has seen it - and rather wishes he hadn't". Okay, he attended a performance, but did he see the show? or did he just see the fulfilment of his own pre-conceived vision of it, the count of infractions to his own personal set of morals? In any case, he exercised his right to see the show and make up his own mind about it, so why shouldn't I or anyone else do the same? Furthermore, I read his leaflet all the way through (but I rather wish I hadn't) - it claimed to be 'for open minded people'. Strange then, that it was a litany of closed-minded bigotry.
Anyway, enough of moralising. The stage production is a witty parody of the foolishness and exploitative nature of the television show, and I'm sorry but yes, I did rather enjoy it (rather a lot in fact). It is the second act where Jerry hosts a show in hell that upsets the 'christian' groups. But it is here that Jerry is made to confront the consequences of the show, the harm it might cause to the lives of those who appear on it. Okay, it portrays God and Jesus as fallible characters with their own particular hangups, but does that make it anti-christian? I think not, except perhaps to those whose 'faith' is hung up on mere words and token gestures.
The characters are absurd parodies, but at the same time they are real people with real problems and apirations and that we can sympathise with - like Shawntel who aspires to the life of a pole dancer as an alternative to being trampled on all the time. The set is a representation of the Jerry Springer studio set. At either side of the stage are small stepped benches for the studio 'audience' and in the middle are four chairs for the show's guests. The music is superb, and whilst the lyrics contain some very strong language (including sexual obscenities) for the broad minded the counterpoint in this only adds to the humour. It is hysterically funny to hear a beautifully sung song about the desire to 'poop in my pants'. The funniest moment of the show by far was the song and dance number by the ku klux klan (who were made to look as ridiculous as they truly are).
Overall, for those who bothered to listen, I felt the show carried an underlying message of love and tolerance which is brought out in the (offensive) second act and ends the evening with a real 'feel-good' factor. In conclusion, do not see this show if you are offended by strong language or sexual references, in either of these cases you will be offended. But if you are broadminded with a taste for humour and good music then enjoy the show for what it is, a rousing, witty, musical comedy.
Rolf Saxon as Jerry Springer was almost indistinguishable from the real thing. He does not sing at all, and rarely takes centre stage, which only serves to circumscribe his aloofness from the guests on the show. Dean Hussain (Warm-up Man/Satan) gave a lively and energetic performance as the warm up man. The fact that the audience participation side of events did not work too well on the night was due to the relative sparcity of the audience rather than any failing on his part. As Satan, decked all in red, he was brilliant particularly in the staccato interchanges with Jesus. Benjamin Lake (Dwight/God) was his closest contender for the best male vocalist - he is a wonderful tenor with a crisp clear voice. His rendition of "it aint easy being me" (sung by God) was a highlight of the show. Wills Morgan (Montel/Jesus) also has a wonderful soft and melodious singing voice, as well as a considerable comic talent. As Montel he was hilarious in his huge straining to 'poop his pants'. Carrie Ellis (Peaches/Baby Jane) gave a strong performance, particularly as Baby Jane, and she too has a strong, clear singling voice. Valda Aviks (Zandra/Mary) has an extraordinary vocal range and was the closest challenger to Benjamin Lake in her ability to hold a note. Trevor Jary (Tremont/Gabriel) was really spectacular as the transvestite Tremont, with also an impressive vocal range. But the best solo vocalist of all was Australian Helen Walsh, whose strong lyrical soprano was first class. Her rendition of "I just wanna dance" was as touching as it was memorable and the best in the show.
Offensive to some, gripping to others. A clever original piece of musical entertainment.