Theater

The Plans [sic] That Go Wrong – Broadway Playhouse at Water Tower Place – January 4, 2022

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A little over three years ago I wrote glowingly about The Play That Goes Wrong, a rib-tickler that leaves you with the kind of joy that everyone needs these days.

Given the latest onslaught by those nefarious people behind the Greek alphabet, I was more than ready for another dose of The Play’s theatrical hijinks, which I might describe as a Noel Coward version of Waiting for Guffman meets the Marx Brothers.

So I packed up my KN95, one approved by the Korean government and Amazon, along with proof of a lifetime worth of vaccinations, including those for shingles, just in case.

But, alas, The Play That Goes Wrong went even further wrong than originally scripted. Was the show cancelled due to an outbreak of Covid among the cast’s pets? Did I slip and fall on the icy sidewalk, tearing whatever cartilage might be left in my body, and get taken to the emergency room, where I waited for x-rays for 15 hours, writing this blog, while the staff tended to several hundred people with the sniffles? Did I go to the theater on the wrong night like I did for Ragtime in 2018? Or other, the answer most often correct on online AARP quizzes?

Just like it was every night of the 17-year-run of Shear Madness at the Blackstone Hotel, I’m going to let the viewer, in this case the reader, decide the outcome. I will only add that The Play That Goes Wrong will be here through February 13, so you may yet see a review from me that is only slightly more about the production itself.

As You Like It – Chicago Shakespeare Theater – November 30, 2021

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I’m bad with names, but better with faces. What I didn’t know until I saw Chicago Shakespeare Theater’s As You Like It last night, is that I’m good with thighs (and not just those on the Thanksgiving turkey), or rather quadriceps, as that sounds better, until I recognized the actor playing Orlando as having the same ridiculously muscular legs as I saw when he played the lead in the production of Memphis I saw three-and-a-half years ago at Porchlight Music Theatre.

I don’t go to a lot of Shakespeare, but this show is as I like it, in that it incorporates 23 Beatles songs into the script, along with some off-hand jokes that undoubtedly rile true Bard of Avon aficionados, and starts with a band and a modern-day wrestling match (more riling), even before the obsolete, often unintelligible English dialogue that is Shakespeare jumps in (wouldn’t supertitles be great?), with the match acting as a prologue and a way of entertaining those of us who get there early to avoid the proof-of-vaccination backup at the door, the sight of which made me wonder whether there were similar lines during the 1665 Great Plague of London.

Nunsense – Porchlight Music Theatre – November 18, 2021

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I first saw Nunsense in 1990 at the now-defunct Wellington Theater. The only thing I remembered about that production was that the cast included Georgia Engel of The Mary Tyler Moore Show fame. I didn’t remember that Ann-Margret played one of the other nuns . . . because she didn’t.

In the first of its three-performance Porchlight Revisits shows this season, the company built upon its upbeat choice of Pump Boys and Dinettes as the season’s still-running first full show, the set of which did double-duty for this show, a usage artfully explained in the dialogue, which also included other newly-added references, such as Ted Lasso and Roku, which, I think, is either some kind of noodle dish or a son of Odin.

I walked out with a smile, but not a program, as the theater emulated the restaurants that now have you scan a bar code to get your menu, which is fine by me except that I must have done something wrong this time, as, at intermission, someone delivered to me something called Udon, which I previously thought was Roku’s brother’s name.

My Week in Review – Presets, Pump Boys & Dinettes

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Eight years after buying my car, I finally figured out how to preset the radio, so now I don’t have to keep listening to golden oldies from the 60s, that’s 1860s, when Stephen Foster was the hot songwriter, or try to search for other stations while driving, which, to be fair, has resulted in no more than twelve accidents, none of them fatal. Who says you can’t teach an old dog . . . something, I forget.

I went to see my first play since Grease at the Marriott Lincolnshire Theatre in February 2020, this time Pump Boys & Dinettes at the Porchlight Music Theatre. Thankfully, given my constant need for continuity, Billy Rude appeared in both shows, this time as Jackson, whose leaps in the air while rocking his guitar reminded me of the fact that my vertical jump, once mediocre, is now, not only potentially dangerous, but also probably nonexistent.

I last saw Pump Boys in the mid 1980’s, when its tale of the Double Cupp Diner, lyrically located on Highway 57 (marked down from Dylan’s earlier Highway 61), not only delighted me, but also gave me words to live by with its Be Good or Be Gone, a song with which Melanie Loren, as Rhetta Cupp, in Porchlight’s production, wowed the audience.

By the way, the Cupp sisters, Rhetta and Prudie, who joined together for another highlight, Tips, bear no relation to Cooper Kupp, who is leading the NFL in receptions and touchdowns, though all of their cups runneth over.

Porchlight Icons Gala – Galleria Marchetti – October 20, 2021

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On October 19, 1989, 3.8 inches of snow fell in Chicago. We dodged that bullet. The weather was perfect for the Porchlight Icons Gala, and a gentle breeze flowed in from the multiple, large openings to the outdoors. We weren’t pent-up indoors with a few hundred people. And yet, there was no need to sit under a space heater.

But, just in case, I brought my new toy (not made out of LEGOs this time), a portable carbon dioxide monitor, a device that has become fashionable in schools as a means of measuring the effectiveness of air circulation efforts in the time of Covid.

According to a report in Environmental Science & Technology Letters, scientists, relying on the fact that “infectious people exhale airborne viruses at the same time as they exhale carbon dioxide”, concluded that “wherever you are sharing air, the lower the CO2, the lower risk of infection” from Covid.

I am pleased to say that, despite my dropping it on the floor at one point, and hopefully not because I did, my monitor continued to signal a level of carbon dioxide equivalent to a totally outdoor environment.

So, I was able to completely enjoy the honoring of Dolores Conchita Figueroa del Rivero Anderson for her glorious theatrical career. Who? Chita Rivera.

The entertainment was top notch, as always with Porchlight, and Ms. Rivera was charming and gracious. And the wine was flowing (perhaps the cause of the dropped monitor), as were the donations, buoyed by an auctioneer extraordinaire. And it didn’t snow.

Broadway in your Backyard – Porchlight Music Theatre – Washington Square Park – July 18, 2021

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If you don’t count Piff the Magic Dragon, and I don’t, the last in-person, no scientist involved, theatrical event (as opposed to instrumental concert, by my definition, which is the only one that counts, as it’s my blog), I had attended before last Sunday was on February 25, 2020. I’m still waiting for the first indoor one, but not until at least the fall, and not anxiously.

In the park I’m surrounded by grass and trees and feel a gentle breeze on my back. In the Ruth Page Auditorium, where Porchlight normally performs, I’m surrounded by the walls of a 1927 building that may or may not have a ventilation system.

At the park event I sat in my own folding chair, which is far more comfortable than any seat at Ruth Page, and placed it so that I didn’t have to rub elbows with strangers exhaling in my immediate vicinity. My view was somewhat limited by overhanging tree foliage, but that’s still better than sitting behind Andre the Giant, which I always wind up doing at the theater, even though he died in 1993.

So, like the groupie I am, I’m looking forward to attending three future Backyard programs in three different parks in August. Have chair will travel.

The Theory of Nothing

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Just because the world has ground to a halt doesn’t mean that I should stop writing, or does it? Have I misinterpreted the signs? Anyway, to help us all pass the time, here are some notes about some of the things I’m not doing.

Speaking of signs, and the stealing thereof, I’m not watching baseball games. I wouldn’t anyway, but my class on the Literature of Baseball at Northwestern’s Osher Lifelong Learning Institute will be held online, instead of in person, which means I don’t get to indulge in the delicious home-made brownies that a member of the class, who is a baker, brings each week.

I’m not watching March Madness or running my pool, which is a shame because I concocted some bizarre rules this year in the hope that no one else would understand them. In that vein, in the absence of games, I have declared myself the winner of the pool.

Despite having been the Wizard of Oz in Wicked on Broadway, Joel Grey apparently does not have the power to make everything right and so is not going to the 25th Anniversary Porchlight Music Theatre Icons Gala honoring him and neither is anyone else, including me, at least until it gets rescheduled.

I’m not going to the postponed Newberry Library Associates Night, where I was hoping to cop some free wine and cheese and then sneak out before the staff droned on about research that would have bored me to tears.

I’m not going to the American Writers Museum to listen to Gene Luen Yang talk about his new graphic novel Dragon Hoops, as he cancelled his in-person book tour, and instead, according to his website, is touring as a cartoon.

I’m not going to the Civic Orchestra of Chicago’s 100th Anniversary Concert, which was to feature Tchaikovsky’s Symphony No. 5, which also was performed at the orchestra’s first-ever concert on March 29, 1920. I missed that one too.

New Faces Sing Broadway Now – Arts Club of Chicago – February 25, 2020

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As usual, Porchlight Music Theatre’s New Faces event showcased a host of talent, and a host with talent, Cory Goodrich, five-time Jeff Award nominee, and two-time winner, who is soon to star in Porchlight’s production of Freaky Friday, opening April 10th.

There were songs from recent arrivals and entrenched hits, including four of the five longest-running shows in Broadway history – The Phantom of the Opera, Chicago, The Lion King, and Wicked – but none from non-musicals.

One song was from a show that just opened on Broadway, but is familiar to Chicago audiences – Six. Six’s Porchlight connection is strong, as four of the six stars of the show have been featured in the past in the New Faces series.

What’s more, four of the six women in the cast have first names that start with the letter A, and the two who don’t replaced two from the original West End cast who did. Coincidence, or enemy action?

New Faces makes me think of people who literally have a new face, say for example the characters played by John Travolta and Nicolas Cage in the movie Face/Off. I wonder if they would have titled the 1997 movie Trading Faces if not for the 1983 movie Trading Places.

Speaking of John Travolta, he appeared on Broadway in 1974’s Over Here, in the role of Misfit, singing a two-song medley with the Andrews Sisters. Over Here, which I never heard of before despite it having been nominated for best musical, also included the song Don’t Shoot the Hooey to Me, Louie (gotta love the title), sung by Samuel E. Wright, who sang Under the Sea in the animated film The Little Mermaid. With that kind of trivia, Over Here sounds like a candidate for a Porchlight Revisits production.

For Lying Out Loud (Presented by The Chicago Bar Association) – Oakton Community College – February 23, 2020

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A musical suite is defined as a group of self-contained instrumental movements of varying character. A medley is a piece composed from parts of existing pieces. Instrumental medleys in overtures are fine, but calling a vocal medley a suite in a show’s printed program doesn’t make it so.

The problem with vocal medleys is that . . . . Just when the audience is starting to . . . . The performer isn’t given’t the chance to . . . . And the composer’s work . . . . It’s as if a writer started a series of sentences that . . . .

There were two so-called “suites” in this year’s Chicago Bar Association annual satire, For Lying Out Loud, that were somewhat, and only somewhat, saved by the fact that the piano accompanist for the show was excellent.

The opening and closing narrator for the show was dressed as Pinocchio, as befitting the theme. He first appeared on stage, however, already having a long nose, and it didn’t grow as a result of anything he said, unlike in the clever Geico commercials. So, was it Pinocchio or Cyrano de Bergerac?

The highlight of the show, for me, was seeing my name in the program as the purveyor of additional material, the reference being to two jokes I gave the writers many months ago. I was heartened to hear, not only the jokes, but also the audience laughing at them. Okay, the one predicting the imminent end of civilization may have elicited more of a groan, but I was back in show business.

Speaking of imminent ends, I was told that the Bar’s home venue will once again be changing, probably moving to the Studebaker Theater in The Fine Arts Building, with the hope, I suppose, that the show can somehow survive dwindling audiences and last four more years to reach an even 100, if civilization doesn’t end before then.

Grease – Marriott Lincolnshire Theatre – February 16, 2020

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According to backstage.com, 2019’s Frankie and Johnny is the first Broadway play to have an intimacy director. Marriott’s production of Grease is the first Chicago play I’ve been to where I noticed a similar attribution, in this case Intimacy Captain, in the playbill. There aren’t any sex scenes in Grease, but there is physical touching.

According to Intimacy Directors International (IDI), founded in 2016, “intimacy directors with IDI are highly skilled collaborators trained in movement pedagogy, acting theory, directing, body language, consent, sexual harassment, Title IX, mental health first aid, and best practices for intimacy direction “ They take “responsibility for the emotional safety of the actors and anyone else in the rehearsal hall while they are present.”

So, while this production is 2020 in regard to backstage sensibilities, it’s still a very senior class of 1959 script, although I think a little of the language from the original has been cleaned up.

The nostalgia regarding a time and place is what drives Grease, along with a raft of great songs, performed beautifully by all in this production, because the plot, whether it be in the original or revised play, or the movie, never wavers from weak, with inexplicable turns.

But when they drive the Greased Lightnin’ car down the theater aisle and onto the stage, twice, one time also lifting center stage and the car up with hydraulics just as if it were in an actual garage for repairs, it’s hard to care whether character transformations are credible.

As for the characterizations, it’s also hard not to start with the understanding that the actors are past high school age, but given the fact that Olivia Newton-John was 30 when the movie was released, they seem young enough, especially given their body language and emotional immersion into their roles. In particular, for me, Michelle Lauto, who always shines, stands out as Marty, with a fierceness and attention to detail.