Porchlight Music Theater

Icons Gala – Porchlight Music Theater – Ritz Carlton – March 31, 2019

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Porchlight Music Theater’s Icons Gala fundraising event included silent and live auctions and a tribute to director and choreographer Jerome Robbins.

While the tribute included some dancing, I doubt that it was original Robbins choreography. There was much more singing, with performances from Robbins shows such as Gypsy, On The Town, The Pajama Game, Bells Are Ringing, West Side Story, Fiddler on the Roof, and A Funny Thing Happened On the Way to the Forum.

The inclusion of A Funny Thing Happened on the Way to the Forum at an event featuring an auction was particularly appropriate. The first recorded auctions were in Greece around 500 B.C., though oddly, the word auction derives from the Latin word that translates as an increase.

The main items sold at early Greek auctions were daughters, sold to be brides. Courtesans also were sold, as in A Funny Thing Happened, which was set around 200 B.C., although, fortunately for me, Porchlight produced a 2015 version that I was around to attend, as I was unavailable in 200 B.C.

Porchlight offered a variety of items for purchase at the gala, 59 in the silent auction, and 6 in the live auction, but, fortunately, unlike ancient Greece, none of them involved the transfer of people, although there were a few that involved people agreeing to subjugate themselves by preparing dinner for the winning bidders. In the hope that someone, anyone really, would prepare a dinner for me, I bid vigorously on one such item, but, alas, came up short.

Bill Kurtis and Donna La Pietra served as emcees for the introductions of the live auction items, or rather she did as he stood by her side looking legendary, before they turned things over to a real auctioneer, who put on a show of his own, compete with flashing lights, but no courtesans.

A Gentleman’s Guide to Love & Murder – Porchlight Music Theater – February 2, 2019

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It seems to me that A Gentlemen’s Guide to Love & Murder could have been titled How to Succeed in Murder Without Really Trying. I easily could envision a young J. Pierrepont Finch (spoiler alert) rising to the top of the D’Ysquith family, to become the Ninth Earl of Highhurst, through cunning, good fortune, and the cool clear eyes of a seeker of wisdom and truth.

As with last year’s Memphis, I preferred Porchlight’s production of A Gentleman’s Guide to the Broadway in Chicago version I saw a few years ago, due, in large part, I suspect, to the intimacy of the venue, which is, nevertheless large enough to provide the set designer the creative liberty to forge a functional and entertaining backdrop to the action.

As with Porchlight’s Gypsy, I was fortunate enough to see the first table reading of A Gentleman’s Guide, which, in this case, afforded me the opportunity to observe Matt Crowle working on the voices he would use for the nine different characters he portrays. And, while that was playful and interesting, it could not have prepared me for the way in which he distinctly inhabits all of them once he’s in costume and afforded the chance to add physicality to the roles. There are many famous death scenes in the theater. For my money, Crowle’s turn as Reverend Lord Ezekial D’Ysquith may be the most entertaining.

That said, I guess I need to see a production of The Complete Deaths (74 of them from the Bard of Avon’s works), which I missed at ChicagoShakespeare Theater in 2016. Hopefully, the play itself will rise from the ashes so that l’ll have another chance.

Meanwhile, I’ll have to be satisfied with a website I found chronicling 100 of the most memorable on screen movie deaths, led, coincidentally, by Alan Rickman, a member of the Royal Shakespeare Company, who gained his greatest fame in America, without really trying, as Hans Gruber in Die Hard.

Porchlight Revisits 1776 – Porchlight Music Theater – November 15, 2018

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Kevin Rosten Jr., as John Adams, had ongoing problems keeping his microphone on during the first half of the show, but his performance, and his cheek, glistened after someone offstage Scotch-taped the mic into place.

Several of the other men who signed the Declaration of Independence were depicted in the show by female actors. That casting enabled me to watch Heather Townsend, with whom I had the great fortune to act in a short video a few years ago (or rather she acted and I muddled), excellently bring to life John Dickinson, one of the other main characters in the play.

Similarly, Teressa Lagamba gave a rousing performance as Richard Henry Lee.

There also were women playing women in the show (though no men playing women). In particular, I’ll mention Lucy Godinez as Martha Jefferson, a part originally played on Broadway by a right-off-the-bus, 21-year-old from Texas, Betty Buckley, whom I also mentioned recently as the original Edwin Drood and in my blog about Hello Dolly, even though, I reiterate, she was a no show the night I saw that show, not that I’m upset about that.

I saw Godinez, along with Lagamba, in Legally Blonde, where Godinez was a wonderful, high energy member of the Greek chorus. And, as when I saw her perform at Porchlight’s Preview in the Park and Chicago Sings the MGM Musicals, Michelle Lauto, here as Abigail Adams, impressed with her beautiful voice.

Unfortunately, Joseph Foronda, a well-respected member of the acting community, did no justice to the role of Benjamin Franklin. Porchlight’s revisits shows are very short runs that don’t claim to be full-out productions, so I’m not bothered by an actor carrying a script, but Foronda’s eyes almost never left his, giving the impression that he was reading it for the first time, and making me wish that he was the one with mic problems.

Gypsy – Porchlight Music Theater – October 20, 2018

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I saw a production of Gypsy years ago where, among other offbeat casting decisions, a 13-year-old boy played the role of Mr. Goldstone. The Porchlight production was appreciably better, with special acknowledgement of the great E. Faye Butler and the strippers who brought the house down with their rendition of You Gotta Get a Gimmick.

The actors also lent their skills to rapid-fire set changes that reminded me of the Keystone Kops in their helter skelter, yet precision ballet that barely avoids collisions, though there was one moment when someone moving the proscenium arch representing the theaters Lousie played in knocked it into a dress rack that then almost went flying into the wings, without, however, anyone missing a beat. Live theater at its best.

Gypsy has an animal slant, what with a dancing cow, Rose’s dog and the song Little Lamb. Parts of the cow spend a lot of time on stage, which may have led to the guy sitting behind me snorting throughout the second act as if he were a bull in heat. Or, he just may have had a nasal problem.

This was the third show I’ve seen in the last few weeks that featured a dog on stage, the others being Legally Blonde and Nell Gwynn. And The Curious Incident of the Dog in the Night-Time also is playing in town. So, for now, you don’t have to go to Broadway to make a living as a canine actor. But after Illinois banned circus elephants, can dogs be far behind?

Or children.  Like many states, Illinois has laws regarding minors employed in entertainment-related performances.  The kids in the Porchlight production were great, although, unfortunately, they weren’t around for the curtain call (presumably home in bed) to get their due.  I only wish the kid I saw play Mr. Goldstone, way back when, had been denied a work permit.

 

 

Porchlight Music Theater First Rehearsal Meet and Greet for Gypsy: A Musical Fable – September 18, 2018

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As I walked into the industrial building Porchlight uses as a rehearsal space, a couple staff members greeted me by name, asked me what color wine I wanted, and pointed me toward the bowl of M&Ms. I love the theater.

At age 13, Bernadette Peters was the understudy for “Dainty June” in the second national tour of Gypsy, when, as the assistant conductor, Marvin Laird, recalled, “I heard her sing an odd phrase or two and thought, ‘God that’s a big voice out of that little girl.”

So I suggest you remember the name Isabella Warren. Get a piece of paper, write it down, and put it someplace where you’ll find it a few years from now. I’m not sure how old she is, certainly not yet 13. Her IMDB page says she played a terrified seven-year-old girl in a 2017 episode of Chicago P.D. What I am sure of is that she’s going to be a star. I know this because, at this first rehearsal, at the end of her big song as Baby June, Isabella held a note so long that the rest of the cast started looking at each other, dropping their jaws, and getting downright giddy about the talent they were witnessing. The only thing that would have been better is if she had done it while standing on her head and drinking a glass of water.

That said, Porchlight built this production around the fact that E. Faye Butler always wanted to play Rose, and she didn’t disappoint at the rehearsal. But the best part of watching the reading, aside from imagining what the burlesque queens were going to be doing during their rendition of You Gotta Get a Gimmick, was seeing how much the actors were enjoying themselves. This is going to be a fun production.

Porchlight Music Theater’s Preview in the Park – Washington Square Park – August 11, 2018

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I’m planning on going to the Broadway in Chicago concert in Millennium Park in a couple days, but I guarantee that today’s experience will turn out to be better. And not just because today I got to wear a Washington Square Park Advisory Council badge and carry a clipboard.

At Millennium Park I won’t get to meet and mingle with the performers as I did today. I introduced myself to James Earl Jones II, who is the third cousin of his more famous namesake. I’ve seen, and enjoyed, the ubiquitous Jones in six shows at five different theaters over the last two years alone. He told me, prior to Porchlight’s artistic director, Michael Weber, announcing it to the crowd, that he would soon be leaving Chicago to join the national touring company of Come From Away. I also chatted briefly with Weber and the other very talented performers, Leah Davis, Michelle Lauto, Liam Quealy, all of whom were friendly and gracious.

Like today, I might get to be fifteen feet away from the singers in Millennium Park as they perform, but, for that to happen, I’ll either have to get there three hours before showtime, go through a metal detector, wait in line until they open the gates, and hope I don’t get crushed in the ensuing stampede for the good seats; or pick just the right moment once the performance starts to rush the stage, and run across it pursued by a bevy of security guards.

This was the last Washington Square Park event of the summer, if you don’t count Doggie Yoga, and I don’t. But I’ll be going to Porchlight’s upcoming Chicago Sings the MGM Musicals at the Up Comedy Club, where Jones, Lauto, and many other talented performers again will be on display.

New Faces Sing Broadway 1975 – Porchlight Music Theater – June 6, 2018

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First things first – special thanks to the Arts Club of Chicago, where the event was held, for serving red wine. Are you listening American Writers Museum?

If you like trivia and Broadway musicals (and who doesn’t, except one friend of mine), this was the place to be. We heard I Don’t Want to Go Over to Vietnam, from The Lieutenant, which holds the record for shortest run, nine performances, for a show with a Tony nomination for Best Musical. The show is a rock opera about the court martial of Lieutenant Calle. I prefer I Feel Like I’m Fixin’ to Die Rag.

The Magic Show was another play with which I was unfamiliar. But this vehicle for magician Doug Henning ran for four years on Broadway, and the music and lyrics were written by Stephen Schwartz, who, among other things, did okay with Wicked. A bit of trivia I discovered that they didn’t tell us – the show was produced by Edgar Lansbury, Angela’s brother.

My favorite among the songs I hadn’t heard before was Emily Senkowsky’s energetic rendition of Look What Happened to Mabel, from Mack and Mabel.

Among others, we also heard songs from the more well-known Chicago and A Chorus Line, the latter of which won nine Tonys to Chicago’s zero. But, although A Chorus Line also won a Pulitzer Prize for Drama and became one of the longest running shows in Broadway history, it still takes a back seat to a show from that year that only lasted one month on Broadway – The Rocky Horror Show, the movie version of which is considered to be the longest-running release in film history. The performers led the audience in the Time Warp, which made sense since we were trapped in 1975.