The program for the show explains that the piece is not biography, but rather the ensembles' response to Cohen's writings, " ... to the themes and archetypes that recur in his work, to the self-mocking disclaimers that follow his manifestos, to his spiritual quests, to his search for an unattainable lover that merges eroticism and salvation, and ultimately to his humility regarding his imperfections in an imperfect world."

And, in this reviewer's opinion, they accomplished that daunting task. WOW! This staging evoked an essence of Cohen far exceeding my highest hopes. The performance created the powerful angst, the humor, the lust, the constant con, the musical rhythms and double meanings so many Cohen fans know and love. The show provided us with a thoughtful and skillful flake of Our Man's life.

Clark Bowlen is credited as Producer/Designer, his wife Kathy Keena as Director, Deborah Simmons as Music Director and keyboard, and Steve Starger as Music Arranger and keyboard. The collaboration succeeded in creating a marvelous entertainment. The stars of the show, H.A. (Herman) Shemonsky as the "The Mature Artist," and Paul Pricer as the "His Younger Self," must also have been creative assistants, as evidenced by the warmth and energy with which they acted and sang their parts. The supporting cast and crew demonstrated engaging enthusiasm throughout the show. Hallelujah to everyone involved.

Whether or not any biographical reality is attached, the staging and sets worked as good musical theater. Emotional ups and downs were highlighted during the show, not only by the actor holding the limelight, but also by the younger or older artist, the bit characters, and Suzanne. Similar to good movie technique, one character's reactions to events is as integral to the play's development as are other characters' actions.

While controversy could arise from having His Younger Self sing "Hey That's No Way to Say Good-by" to a young male lover, "Beautiful Losers" certainly implies sexual experimentation beyond beautiful women. Another very powerful stage moment comes when His Younger Self collapses while singing "I'm Your Man." He then anguishes back stage in a tee shirt while the rest of the cast engages in a loudly discordant rendition of "Jazz Police." Heard in the sense of emotional and artistic breakdown, that least favorite song now has new meaning to me. The play was funny-- it had us clapping and tapping feet, and it also smashed us viscerally -- Cohen's sardonic wit jerking us to different emotional states at his whim.

Many fans came so far for the entertainment, but all felt richly rewarded. Leicester, England; Portland, Maine; Philadelphia, Pa.; Westchester and Long Island, NY; and Convent Station, New Jersey were all represented. Cohen's office had kindly provided pins signifying fan membership in Leonard's "Order of the Unified Heart."

 Although there were not enough pins for cast and crew, all involved with developing and staging this show are clearly now honorary members. They added immensely to promoting Cohen's complex and compelling world vision, and have hopefully produced new fans.