Thankfully, not all former Mouseketeers are eating up the celebrity crazed spotlight with marriages, high profile relationships and babies. Yes, babies. Enter Lindsey Alley, a six year veteran of the All New Mickey Mouse Club and one of the few Mouseketeers who is continuing to keep her eye on the ball and a good head on her shoulders – either with or without the mouse ears.
Look Ma…No Ears is a wonderful and endearing one man musical memoir of Lindsey Alley's life which depicts her journey as she searches for her big break along the Great White Way. Although she may not be the most notable of the former Mouseketeers, Alley's performance showcases her musical talent, acting style and comedic wit as she engages the audience and proves that she is a force to be reckoned with.
As the play opens, the audience can immediately tell that Alley has a great sense of humor and has no problem poking fun at herself. From an opening "infomercial-like" visual requesting donations to "MouskAnonymous" to Alley's opening song where no pop culture taboo is left untouched, the audience realizes within five minutes from the curtain's rise that the show will be full of good acting and amazing singing – a tough combination to get from any other former Mouseketeer on the market. Alley made a superb choice by collaborating with music director Bob Stein. Stein, who wrote both the music and lyrics to the entire Look Ma…No Ears score, was able to produce quick witted lyrics and rhymes for songs that showcase Alley's powerful voice. In the opening number, Alley sings about how "normal" is no longer marketable. In the lyrics, she ponders what she would do to get a gig. "…If I was hooked on crack/or stole shoes from Saks….,"are two options she considers while simultaneously poking fun of the Kate Moss's and Winona Ryder's of the world. Stein's work also pays tribute to other Broadway standards with substituted lyrics aimed to highlight Alley's struggle at getting a paying acting job. When complaining about her agents, "Legions of Scum" replaces RENT's "Seasons of Love." Fiddler on the Roof lyrics change as well when Alley sings "If I Weren't a Gentile" to backup her theory about how "normal" just doesn't sell.
The script, written by Alley and Stephen Winer, also deserves to be noted as it enabled Alley to showcase more than just her singing skills. For example, Alley's mother is effectively brought into the plot as an audio role. This additional reoccurring character is an effective tactic to further show how Alley is no different from any other actor clinging to a Broadway dream. Her mother constantly calls to give Alley tips on how to charm producers such as sending Andrew Lloyd Weber a box of Omaha steaks. When this tactic is met by Alley's despair, her mother pesters her to come back home to Florida, although she knows it's not something that will happen. The dialogue also gives Alley the chance to further develop her story and show off her impersonating skills. She easily commands the stage by herself, and can infuse other characters into the dialogue with a quick pace that consistently retains the humor. However, cleverly woven throughout the script is the formation of a secondary storyline about how Alley can't shake the Mickey Mouse Club image. As much as it may help and give her some initial notability to stand out from the pack, she is just as often compared to her contemporaries like Britney Spears, Christina Aguilera, Keri Russell and Justin Timberlake where her level fame is then immediately understood – a classic case of something being a hindrance as much as it is a help. Look Ma…No Ears incorporates this piece of Alley's life into the overall story – highlighting not only a true, but current conflict Alley's faces in her musical memoir and daily life in the acting world. However, Alley takes it all in stride and does what is necessary to achieve the goal. In a standout scene where Alley auditions for the Sound of Music, directors ask her to do the audition in a "Britney-like" manner upon learning of Alley's notable Mouseketeer cast mate. Although at first hesitant to the proposal and insistent that she's not Britney but instead Broadway, she gives in and offers an ovation-worthy performance in return. She rips her shirt open to expose a flesh toned top with jewels embroidered all over, al la Britney at the 2000 Video Music Awards. She sultry sings "I am sixteen going on seventeen" while incorporating the "Oops I Did It Again" dance and lyrics to other non-Grammy winning Britney songs. It's a tasteful rib of a pop star that still maintains Alley's talent and desire to get what she wants. Alley is a truly endearing and captivating person – there's nothing fake about her.
