I had trouble determining the identity of the musical. Taylor Mac, who wrote the book of the show, helped by saying he meant to present two interwoven stories, those of Jim Williams and The Lady Chablis, aided by an antagonist for each, Emma Dawes and Lavella Cole, respectively.

The book’s author, John Berendt, stressed how important humor was, stating that his background at Esquire magazine had taught him to write with knowledgeable irreverence.

Mac specifically pointed to the Dawes character, played by Sierra Boggess (what a voice!), who had my favorite line of the show when, in representing the interests of historical and hysterical Savannah, she promised she wouldn’t sell Mercer House to anyone who would knock down a wall to make an open kitchen.

As I stated last time, J. Harrison Ghee, as The Lady Chablis, was great. Their antagonist, Cole, as played by Shane Bailey, had, for me, the best song, among many good ones, in the show when she delivered Clap on One and Three.

I was going to complain about the opening of the show, but Mac’s comments about slowing the audience down to Savannah time, seemed reasonable, though I might still tweak it a little, as I would in a few other places. (I don’t think the audience as the author was explained clearly enough for all.)

Mac commented that no one should expect to “get” everything upon first viewing, that just like a book or movie, a second viewing lends itself to greater appreciation. Moreover, he said they changed the ending after the first five previews, so, oops, you also might have to go again for that reason. Nice marketing.

I also wondered whether the show would be attractive to post Broadway licensees. I asked Mac about whether he took possible future productions into account in his writing. He said he, unlike many others, does, and that the Choreographer, Tanya Birl-Torres, who also was the Cultural Consultant, played a big part in those considerations.