Written and performed by Catherine Barnes. Directed and developed by Jessica Lynn Johnson.
Catherine is a professional musician. One day, she goes to see a medical specialist to address a physical issue that affects her performance. Instead of comforting treatment, she experiences sexual harassment. What to do now? Turn him in to the authorities? Shrug it off? She consults her inner social justice warrior, one Professor Sarah P. Outrage. Complicating matters for Catherine are her memories of when she herself violated the boundaries of others in pursuit of her own goals. Her parents are not helpful. It may be one of Catherine’s other inner personae who can provide her with a solution to her moral puzzle and bring her some peace.
Yes? No? Maybe So? tackles the thorny subjects of Consent and Boundaries with insight, humor, multimedia, and plenty of music (remember, Catherine is a professional musician).
Ms. Barnes portrays a parade of different characters in unspooling her narrative.
I will admit the fact Yes, No, Maybe So lists itself as a solo musical gave me pause. But less than five minutes in that worry evaporated. Instead I simply went along for the ride, one woman's journey into that most heady of all adventures--making a decision.
Catherine Barnes' show (developed and directed with Jessica Lynn Johnson) focuses on a medical exam which proves very creepy indeed, and then Barnes must figure out what to about this. Because the creepiness in this case went beyond a few of the lines that medical professionals should not cross. Yet, hasn't everyone been rude or creepy sometime? Aren't there more serious problems the powers that be should address? How much time and effort will be needed to even start the process? These and at least a dozen other considerations come to mind, only to have her own inner dialogue proceed about the pros and cons. Barnes' own ability to play a wide variety of characters serve her (and the audience), with some special words should go towards the physicality involved. Such a delight to see and appreciate!
But what about it being a musical? Well, the rule of thumb I read once, which still seems valid, goes "Songs are for those moments, feelings, understandings for which at that moment there are no words." This show achieves precisely that. And with some lovely touches in terms of style, touches which IMHO work best live rather than streaming (but then, that is a pretty good rule of thumb for live theatre in general).
In the age of "me too," no doubt many people have looked back through their lives and found times when faced with giving consent to be touched seemed just as confusing as saying "yes" or "no" when what you really thought was "maybe." Catherine Barnes takes us on a journey through her life, starting with a game of "nervous" with a local boy led her to realize no matter what, it was always going to be the girl's fault for not saying "no" and meaning it - even if she did. Her journey continues through her Fullbright scholarship days in Brazil to visiting with a neurologist because her hands were tingling and discovering all she really wanted, according to her "inner bitch" was for him to touch her in inappropriate ways.
And all along the way, Catherine sings original lyrics to well-known tunes which let us see into what she is really thinking as opposed to what she really said. It's a conundrum so many of us face when wondering if we really are telling the truth or playing a game with our minds that will allow us to feel comfortable with whatever decision we make, be it "Yes? No? or Maybe So?"
Catherine's ability to take on many characters/accents/physicality and swing back-and-forth between characters during conversations was very entertaining to watch. At first the amount of yelling during conversations was a bit bothersome, but as the show progressed it seemed to be an appropriate way of expressing her anger as the fear and confusion of situations overpowered her logical thought processes.
I will admit the fact Yes, No, Maybe So lists itself as a solo musical gave me pause. But less than five minutes in that worry evaporated. Instead I simply went along for the ride, one woman's journey into that most heady of all adventures--making a decision.
Catherine Barnes' show (developed and directed with Jessica Lynn Johnson) focuses on a medical exam which proves very creepy indeed, and then Barnes must figure out what to about this. Because the creepiness in this case went beyond a few of the lines that medical professionals should not cross. Yet, hasn't everyone been rude or creepy sometime? Aren't there more serious problems the powers that be should address? How much time and effort will be needed to even start the process? These and at least a dozen other considerations come to mind, only to have her own inner dialogue proceed about the pros and cons. Barnes' own ability to play a wide variety of characters serve her (and the audience), with some special words should go towards the physicality involved. Such a delight to see and appreciate!
But what about it being a musical? Well, the rule of thumb I read once, which still seems valid, goes "Songs are for those moments, feelings, understandings for which at that moment there are no words." This show achieves precisely that. And with some lovely touches in terms of style, touches which IMHO work best live rather than streaming (but then, that is a pretty good rule of thumb for live theatre in general).
In the age of "me too," no doubt many people have looked back through their lives and found times when faced with giving consent to be touched seemed just as confusing as saying "yes" or "no" when what you really thought was "maybe." Catherine Barnes takes us on a journey through her life, starting with a game of "nervous" with a local boy led her to realize no matter what, it was always going to be the girl's fault for not saying "no" and meaning it - even if she did. Her journey continues through her Fullbright scholarship days in Brazil to visiting with a neurologist because her hands were tingling and discovering all she really wanted, according to her "inner bitch" was for him to touch her in inappropriate ways.
And all along the way, Catherine sings original lyrics to well-known tunes which let us see into what she is really thinking as opposed to what she really said. It's a conundrum so many of us face when wondering if we really are telling the truth or playing a game with our minds that will allow us to feel comfortable with whatever decision we make, be it "Yes? No? or Maybe So?"
Catherine's ability to take on many characters/accents/physicality and swing back-and-forth between characters during conversations was very entertaining to watch. At first the amount of yelling during conversations was a bit bothersome, but as the show progressed it seemed to be an appropriate way of expressing her anger as the fear and confusion of situations overpowered her logical thought processes.
