Sex work is hard. As a spectator, I’ve noticed at best it can be filled with perks, and at worst, it’s a thankless, even fatal profession where your humanity is rarely, if ever, considered. John Berendt’s (mostly) nonfiction, true crime novel, Midnight in the Garden of Good and Evilwas released in 1994 and is centered around a retelling of a crime of passion between a sex worker and his socialite sugar daddy. Characters Danny Hansford and Jim Williams, respectively, had a terrible relationship; Jim would embarrass much younger gigolo Danny, and Danny in turn would become violent. This cycle of violence would continue until they were both dead.
As far as juicy stories go, this is as moist as it gets. Berendt put a little extra sauce on a few time lines and characters in the book, which is also part love letter to Savannah, Georgia. Among the many idiosyncratic characters in the book, Savannah is described as one of them. Midnight is still one of the New York Times’s longest-standing bestsellers and is responsible for a huge uptick in tourism in Savannah. It got the movie treatment in 1997, and while it didn’t do well at the box office, scoring mixed reviews, it was a memorable adaptation.
Now, 30 years later, we get a musical version that blows the film out of the water. The Goodman Theatre pulled out all the stops for this production, directed by Rob Ashford, with choreography by Tanya Birl-Torres and a score by renowned composer Jason Robert Brown. Book writer Taylor Mac adds great moments of spoken word and dialogue beyond the singing. This updated musical has cultural reverence, relevance, well-rounded performances, and amazing songs.
Midnight in the Garden of Good and Evil
Through 8/11: Tue-Wed and Fri 7:30 PM, Thu and Sat 2 and 7:30 PM, Sun 2 PM; also Sun 7/14 7:30 PM and Wed 7/31 2 PM; ASL interpretation Fri 7/19, touch tour and audio description Sat 7/27 2 PM (touch tour 12:30 PM), Spanish subtitles Sat 7/27 7:30 PM, open captions Sun 7/28 2 PM; Goodman Theatre, 170 N. Dearborn, 312-443-3800, goodmantheatre.org, $25-$175
The opening set looks like a cemetery garden at night, complete with grand statues and draping vines. The Goodman is quickly filled with sounds of cicadas and life beyond the dark, and the Mercer House appears behind the garden—Jim’s beautiful, historic home in Savannah. Minerva, a voodoo priestess (sturdily played by Brianna Buckley), appears and begins a spiritual practice that lets us know we are not alone. She chants and communes with the dead and is a protective force. The south has so many ties to African Indigenous spirituality; it takes center stage early and often.
Similar to the book and movie, Jim is an antiquarian who works in the restoration of homes similar to his and is sort of a (wink, wink) homosexual. He never says it outright, but it’s implied, and his flings are witnessed by enough folks to know what’s going on. Mercer House is his pride and joy, where he throws lavish parties for Savannah’s elite while also throwing his weight around. With his status comes power, and he knows it.
In the book and movie, there is a journalist, a man who becomes so enthralled by the Georgian city that he moves from New York to Savannah to pen a book about Savannah, Mercer House, and Jim and his sordid affairs. In the musical, that journalist is us, the audience, which is a smart twist on the overall story, making us an actual part of the dialogue and movement through the musical. Additionally, the cast of characters are a snapshot of the deliciously dark and beautiful makeup of Savannah, but also a look into the “melting pot” of America.
The haves, the have-nots, the queers, the powerful, the downtrodden—they’re all represented. Oh, and let’s not forget the racial tension of the south (which could stand as its own character). Everyone’s here, and by the looks of it, everyone’s drunk and very messy. The entire cast is lovely. And honestly, I don’t remember the book or the movie being this funny. There are so many laughs throughout the production that the almost three-hour running time feels swift. The fashion throughout is colorful and retro (Toni-Leslie James designed the costumes and Matthew Armentrout created the wigs and hairstyles); the dancers are on point; the 12-piece orchestra (led by music director Thomas Murray) plays beautifully; and the ensemble did not disappoint. With so many memorable performers, it’s hard to single anyone out, but just know everyone is at the top of their game.
Jim, played by Broadway vet Tom Hewitt, brings heft, humor, and a damn good tenor to the role. Austin Colby also makes his Goodman debut in the role of Danny Hansford, emerging shirtless, drinking milk, and showing us why he’s the best piece of ass in Savannah. His voice is surprisingly powerful and emotive and does a great job bringing a bit of sympathy to the role. Shanel Bailey is amazing as Lavella Cole, a Black debutante who becomes more sensitive to her queer neighbors. Sierra Boggess is hilarious as Emma Dawes, famed frenemy of Jim; she brightens up the stage every time she appears. Wes Olivier as Jack the One-Eyed Jill is wonderful as well, packing big moments into a smaller role.
In the interest of word counts and deadlines, I do not have enough room here to say how much I loved the role of the Lady Chablis, masterfully played by Tony Award–winner J. Harrison Ghee. She’s gone from a side character in Berendt’s book to a scene-stealer in the movie to one of the musical’s main attractions. In the movie, she played herself, a sidesplitting trans woman and entertainer who knows the gossip on everyone in Savannah and takes a liking to the journalist. In the musical, she talks to the audience so much she has us blushing. When she first appears onstage, she’s met with rowdy applause before she even says anything. Opening night, Ghee smiled deviously at the crowd and said, “Make me earn it.” And Ghee’s Chablis did. I actually shed tears during her triumphant final song, “Butterflies,” and the accompanying monologue; it felt like I was indeed having a spiritual experience. Those familiar with the Midnight story will come for Jim’s debauchery, but stay for the Lady Chablis.
Midnight is essentially a story about a newly rich white man on trial for the murder of his gay lover in late 1980s Savannah. There’s so much to unpack, but I was truly left feeling heavy emotions about the characters of Danny Hansford and the Lady Chablis. If Danny were treated like a person and not a depraved whore, his fate might have been different. Jim’s fate might have been different. If Chablis were treated like a person and not some degenerate, she might not have been so amazing as an entertainer. Being steadfast in taking up space, being loud, and overall not letting anyone shit on you for being just who you are, no matter what your background is, was the message I wholeheartedly took from this musical. And if you can’t be loud in life, be loud in death—and haunt the shit out of those who wronged you. The spirits will be there to guide you!
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