The Christine Jorgensen Show

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In a time when anti-trans vitriol has filled newspapers and the airwaves, the moving, sensitively told The Christine Jorgensen Show at the HERE Arts Center brings a measure of sanity into the discourse.

Probably the most famous trans person ever, Jorgensen’s sexual reassignment surgery shocked and amused the staid world of the 1950s, a period where married couples on TV couldn’t even be shown to sleep in the same bed.

Christine Jorgensen was born George William Jorgensen, Jr. in the Bronx in 1926.  He always felt more feminine than masculine.  During World War Two he was drafted into the army where somehow he learned about sex change operations.  He had already prepared himself with female hormone therapy.

After his service he went to Copenhagen, partially because of his Danish ancestry, where his plans solidified.  Several operations later he emerged as his female self, Christine.

Although she initially did not seek publicity and fame, it was foisted on her and she made the best of it, writing a best-selling autobiography and eventually morphing into a celebrated performer.

Donald Steven Olson’s The Christine Jorgensen Show, a two-hander, focuses on the creation of her nightclub act.  Jorgensen (portrayed by Jesse James Keitel known for Younger, Queer as Folk and Star Trek: Strange New Worlds) approaches showbiz veteran Myles Bell.  Mark Nadler, virtuoso pianist, cabaret superstar, and co-composer for this show, takes on the role of this quirky, energetic performer and songwriter.

Jorgensen, dressed in one of Suzanne Chesney’s many beautiful period outfits, is somewhat unsure of herself.  She had been burned by terrible reviews for her recent travelogue about Copenhagen which she narrated at the Orpheum Theater in Los Angeles and her manager feels that she should dip her toe into the high-toned world of cabaret.

Bell is at first quite reluctant, particularly when Jorgensen displays absolutely no talent for singing or dancing and keeps having to run off to one fitting after another.

In scene after scene, Jorgensen is exhorted to sing, at first meekly eking out an old Danish lullaby.  Bell keeps dashing to the piano to compose as their conversations inspire him.  His facile piano style buoys these rehearsal sessions which take place in a dingy studio, later transformed into a glamorous nightclub stage.  (Imaginative scenery by Riw Rakkulchon enhanced by Calvin Anderson’s subtle lighting turns the drab space into an expressively colorful performance space.

As they get to know each other, they reveal their personalities and problems, helping each other cope.  The joy of Jorgensen is watching how these two people change each other for the better.  Of course, there are tense moments and frustrating attempts to keep their plans from being aborted.  Jorgensen actually abruptly leaves at one point and Bell expresses his doubts, but they finally construct an act which closes the show with pizzazz and humor.

Both actors are terrific, Keitel gaining confidence as Jorgensen learns how to be an entertainer and Nadler learning to tone down his shtick to accommodate his pupil.  Nadler also displays some tap dancing talent.  (Choreography by Banji Aborisade.)

Olson and Nadler collaborated on the songs.

The Christine Jorgensen Show runs smoothly under the direction of Michael Barakiva who allowed the two actors to savor their roles.

The Christine Jorgensen Show (through November 17, 2024)

HERE Arts Center, 145 Sixth Avenue, in Manhattan

For tickets, visit http://www.ChristineJorgensenShow.com

Running time: 90 minutes without an intermission