Naturally, when Charlie first tells his buddies concerning the new musical he needs to level, everybody needs to know what the perspective is — specifically Mac, who needs to know, “who is that this as opposed to?” Then again, since each and every unmarried member of the crowd is overtly determined for repute and a focus, all of them agree to play pivotal portions in “The Nightman Cometh.”
Mac stars because the nefarious Nightman, straight away ruining Charlie’s imaginative and prescient by means of insisting that he will put on cat-eye touch lenses and do karate strikes all of the time. (At that advised, Frank temporarily puts a telephone name to his “cat-eye man.”) Dennis, in the meantime, is delighted to play the heroic Dayman, whilst Dee performs, confoundingly, “a princess who works at a espresso store” that falls in love with the Dayman, regardless of continuously figuring out him as a “little, tiny child boy” in a tune that leaves everybody disturbed. As for Frank, he readily indicators on to play the position of the “troll” who lets in the Nightman to assault the Dayman — who, because it seems, is known as Antonio, for causes which can be by no means printed.
Because the display approaches, crisis ensues, regardless of Charlie’s consistent, simmering rage and the very best efforts of the manufacturing’s obvious (and lackadaisical) level supervisor, Artemis (Artemis Pebdani). Proper earlier than the crowd is going on level, amidst Dee’s insistence that she “rip the pits” of her ill-fitting but pricey princess gown and Mac’s announcement that he is attempting to elicit “gasps” from the target market, Charlie makes a stunning proclamation: he may not be accompanying the display himself, as a substitute giving his process to an aged lady named Gladys and leaving the crowd at a loss for words and stranded.