The Shards of an Honor Code Junkie, written by Blake Allen, tells the story of a young gay Mormon man navigating a path toward self-acceptance and self-love while questioning Brigham Young University’s rigid Honor Code standards. Celebrating its World Premiere staging, the show rests in the talented and capable hands of students and faculty from the Cincinnati Conservatory of Music’s Musical Theater Department.
The Plot
At its core, Shards is a story about human affirmation and a celebration of personal acceptance. It delivers a positive, uplifting message, honoring the LGBTQ+ community and allies, especially those from religiously intolerant backgrounds.
For context, Brigham Young University is a large, private research university affiliated with the Church of Jesus Christ of Latter-day Saints. It is known for its rigorous academics, spiritual emphasis, and distinctive Honor Code. While the Church of Latter-day Saints teaches that same-sex attraction is not a sin, acting on those feelings is considered a serious violation of church doctrine that can result in harsh discipline, including excommunication.
These themes have been explored over the years, including as a central plot point in the 1991 Pulitzer-Prize-winning Angels in America, the 2003 romantic comedy-drama film Latter Days, the 2015 TLC television feature My Husband’s Not Gay, the 2018 documentary Believer, and in ongoing podcasts such as the Latter Gay Stories Podcast.
The Music
Though the topic is not new, Allen’s autobiographical telling is deeply personal and set to an ethereal, dreamlike score that captivates listeners through complex harmonies and soaring overtones. Echoes of Steven Sater’s Spring Awakening appear throughout, as the characters confront emotionally charged issues including sexuality, drug use, suicide, emotional abuse, sexual consent, eating disorders, and religion. If it sounds like a lot to take in, that’s because it is.
The musical contains 33 songs in just over 75 minutes. Musical suspensions permeate the score, leaving the audience in an almost constant state of unresolved emotion. Many numbers are deeply moving but sometimes become lost in a sea of similar time signatures, key signatures, harmonies, and modulations. The harmonies and overtones create a dreamlike, meditative soundscape. The show is ballad-heavy and would benefit from more contrast between numbers. A standout example is the vaudevillian “Honor Court” number near the end, where the main character becomes the central figure in a mock trial. The production would be enhanced by incorporating more diverse musical styles such as rock, pop, grunge, and EDM alongside the dreamy power ballads.
The Framework
The dreamlike quality is reinforced by Allen’s storytelling approach. A female narrator delivers the exposition, and she also plays the main character’s mother. A second mature male actor plays multiple authority figures. The two main protagonists—aptly named “Boy” and “Girl”—are supported by an ensemble cast called “Lost Child of God #1–#4.” The storytelling style is largely representational and metaphorical, balancing real and concrete issues. At times, it is beautiful and moving; at others, it can be confusing. Overall, this world premiere staging will provide invaluable insight for further development and workshopping.
The Cast
The vocal prowess on display is nothing short of awe-inspiring. Nearly pitch-perfect performances from every cast member testify to the quality of talent, dedication, and professionalism that CCM is known for. Sweeping harmonies fill the space, supported by exceptional vocal technique and acting. The performers are fully invested, gracefully overcoming a few site-specific challenges.
Andy Bakun brings emotional resonance and vocal maturity to the lead role, while Ellie Eisele matches his intense vocal agility. The Lost Children of God—played by Max Patrick, Alexander Bowman, Dominic Carroll, and Morgan Lindell—act as a Greek chorus, adding layered harmonies in supporting roles. There are also two on-stage swings Gavin Poronsky and Ilsa Denton, performing as part of the ensemble.
The cast’s vocal performances make this a show well worth seeing!
Artistic/Production Team
CCM faculty Vincent DeGeorge directs and choreographs. The show is a site-specific experience staged in the Church of Our Savior. The cathedral’s large rose window enhances the religious nature of the play. Aesthetically, the production is minimal, with few props or furniture, fitting the space and style. DeGeorge allows the cast’s talent to shine, creating movement and vignettes that feel at home in this environment.
Some site-specific challenges include lighting and sound. The church’s overhead fluorescent lights expose both audience and actors throughout the performance. However, the stained glass and rose window would provide a beautiful backdrop, especially during the Saturday matinee.
Acoustically, the cathedral’s cavernous shape causes significant reverb, which amplifies the vocal performances but sometimes muddles transitions between songs.
Special mention goes to music director Ian Axness and additional choreographer Josh Walden. The production team also includes Nait Naylor (Production Stage Manager), Laila Gose (Assistant Stage Manager), Annabell Mallard (Sound Designer), Jen Lampson (Production Manager), Ali Fishbain and Bethany Untener (Assistant Production Managers), along with several advisors.
Final Thoughts
The Shards of an Honor Code Junkie is a deeply personal, autobiographical story that tackles a great deal within a short runtime. While it still has areas to refine, the musical is vulnerable, powerful, and a contemporary exploration of issues facing a marginalized community in dogmatic times. The raw talent on display is inspiring and deeply emotional, ready to stand alongside any professional regional theater in Cincinnati. The cast, crew, and artistic team deserve high praise for bringing Allen’s work to life, setting the stage for a fully realized production.
Get Tickets to The Shards of an Honor Code Junkie
A few free seats are still available for this World Premier work. CCM’s Shards runs through October 11 (with 2 pm and 8 pm shows on Saturday.) Sign up at this Sign Up Genius link.
- LOCATION: Church of Our Saviour / La Iglesia de Nuestro Salvador, 65 E Hollister Street, Cincinnati, Ohio 45219.
- PARKING NOTES: there is a very small parking lot behind the church, neighborhood street parking is most likely
- CONTENT WARNING: Please be aware that this production contains themes of drug usage, emotional abuse & its aftermath, suicide, non-consensual physical intimacy, eating disorders, religion.
