ALPHABET SOUP (1)

ALPHABET SOUP (1)

Time to shake things up and pick some shows at random. Well, perhaps not entirely at random. I made up 26 slips of paper, each one with a letter of the alphabet on it and put them all in my I-bought-this-in-London-but-I-have-no-idea-why blue coffee mug which, per the bottom of the mug, was made in Italy. Don't get me wrong; it's a nice mug, but why I schlepped it home to Chicago from London escapes me. I digress. I thought it would be fun to mix up the slips of paper, draw a letter, and just grab the first five shows on that letter's pile. In this case, it's six (same show, different productions).

Drum roll, please…. Today's letter is….

B

Let's begin!

To start things off, the glamorous Lauren Bacall welcomes us in classic Bacall style

Thanks, Betty! 

Young Jim Dale (45) and Glenn Close (33).

October, 1980 and February, 1981. This enormously entertaining show loosely based on the life of showman P.T. Barnum featured Jim Dale's outstanding Tony-winning performance as Barnum. His wife, Chairy, was played by a young, just-starting-to-get-noticed actress by the name of Glenn Close before she became GLENN CLOSE. Let's be honest here, Glenn may be a terrific actor, but she's never been much of a singer (she's on pitch and it's not painful, but you wouldn't want to buy an album entitled Glenn: Hello, Young Lovers), yet for Barnum, she sang her songs in a voice that displayed a dusky, earthy quality that complemented her character and performance. The Cy Coleman-Michael Stewart score is an energetic, bouncy affair and Mark Bramble's book gets the job done with swift efficiency. The circus aspects of the show were stunning and a preview of what was to come, even more stunningly, decades later in the revival of Pippin. Having said that, however, how many leading men cross from stage left to stage right on a tightrope?  Some fun stuff: Terrence Mann made his Broadway debut in Barnum; Judy Gibson was playing Joice Heth in October, but original cast member Terri White had returned by February to truly dazzle us with "Thank God I'm Old" and "Black and White;" SuEllen Estey subbed as Jenny Lind for featured Marianne Tatum in October; Joice Heth is traditionally played by an African-American actress, however, listed as the understudy for Joice is, wait for it, Mary Testa! Now that would have been an understudy performance to have seen! From the Show-Must-Go-On files: at the February performance, an announcement was made prior to the performance that Jim Dale was suffering from laryngitis and had missed the matinee, but he didn't want to miss two performances, so he would be performing, but hoped the audience would understand that his singing would not be up to par. We applauded like mad, and, yes, his vocals were ragged, but, frankly, no one cared. He was that good. Personal note: Barnum's lighting designer, Craig Miller, was a teacher and designer at Barat College when I did shows there in the early 70s and one of his assistants, Mary Jo Dondlinger was Sleeping Beauty to my Prince Charming in a "Fractured Fairy Tales" version of Sleeping Beauty at Barat. Because of the demands made on its leading man, the show may never be revived on Broadway. After its national tour closed early after only a few months on the road, Barnum finished out a long and successful run in New York and then slipped into undeserved obscurity. (Note: we saw a decent small-scale version earlier this year in Chicago and a well-received UK revival may be on its way to London's West End.) - at the St. James Theatre, New York

(Note: The Nite 'N Gale has been a fixture in Highwood since 1947. It was our favorite hangout when I did theatre at Fort Sheridan, across the road from the restaurant.)

June, 1972. It's been suggested that only the Brits can do justice to Noel Coward, and, for the most part, I tend to agree. However, Canadian Brian Bedford and American Tammy Grimes hit all the right notes in Coward's delightful comedy about ghosts, mediums and marriage. Not as sophisticated as other Coward plays like Private Lives or Design for Living, this play is more accessible than most Coward, which is perhaps why it is regularly done by amateur and community theatres. Make no mistake, however, this stylish production was anything but community theatre. Featuring a supporting cast of fine actors, Grimes and Bedford dominated the evening with their effortless acting and exquisite timing. This was their second Coward show together. The first was a Tony-winning production of Private Lives during the 1969-1970 season, which they would bring to Lake Forest in 1971. Following this show, they would appear together at the Academy Playhouse in The Tavern. Craig Miller (see above) designed the lights and resident costume and set designer at Barat, William Lane, provided the physical environment. (Note: I would make my first appearance at this theatre a few months later when I was cast as a last-minute replacement in Barat's production of Celebration.) The Academy Playhouse was a fixture on Chicago's North Shore for several summer seasons, providing star-driven, New York-quality theatre in the Chicago suburbs, until its founder, Marshall Migatz, was tragically killed in an auto accident. - at the Academy Playhouse (Drake Theatre, Lake Forest, IL)

June, 2013. A riveting, provocative play about our involvement and missteps in the early days of the Afghanistan conflict. Reminded me of what a dark period the Reagan/Bush years were. Excitingly acted, with another terrific turn by the always-reliable Terry Hamilton,  this production had the production values one expects from TimeLine. Full of intrigue and suspense and everyone not being who they initially appear to be, this play was a wonderful discovery. Especially topical now with potential increased U.S. involvement in the Middle East. - at TimeLine Theatre, Chicago

It's intermission and once again here's the legendary Betty Bacall showing off some serious bling.

Those are some "little momentos," Betty! Moving on....

November, 1973. As a young gay man, I found Simon Gray's acerbic comedy about a day in the life of an alcoholic university lecturer in London during which he loses his wife, colleague/officemate/possibly lover and probably his last vestiges of self-respect to be very funny, very dark, very modern and even a bit titillating. Was/is Ben Butley gay? Straight? Bisexual? Asexual? All of the above? None of the above? In Brian Bedford's sturdy performance, one never got a definitive answer about Butley's sexuality, which kept the sometimes talky play always engrossing, yet you knew absolutely that Bedford himself knew all the ins and outs of his often unlikeable, often funny and ultimately sad character. This First National Company also featured solid performances by Paul Jott as Joseph Keyston, the main object of Butley's abuse and affection, Sarah Laughlin as a sympathetic and understated Anne Butley and, recreating her Broadway role, Barbara Lester as Edna Shaft, Butley's "competition" at the university.  For a long while, this was one of my favorite plays.  - at the Studebaker Theatre, Chicago

(Sidebar: In Chicago back in the 70s and into the 80s, most touring musicals played the Shubert or, for a relatively short time, the McVickers and plays were produced either at the Blackstone or the Studebaker. Of these four theatres, only the Shubert, now called the Bank of America Theatre, and don't get me started about corporate naming, still operates as a professional theatre. The Blackstone was purchased by DePaul University and renamed the Merle Reskin Theatre (but at least it's still in use!). The McVickers was demolished and an office building now occupies the space. The Studebaker became the Fine Arts Theatres and was the primary place to see art films and less commercial movie fare. I saw "The Crying Game" there. The theatres were closed years ago. I'm not sure what is there now. I suspect just empty space. I'm including some pictures I found on the Internet of the Studebaker. I don't remember the theatre being as elaborate as the B/W picture. To me, it was always the "plain Jane" of Chicago theatres: comfortable, functional, but not especially pretty.If memory serves, it seated about 1200.)

November, 2003. Thirty years after I saw Butley in Chicago with Brian Bedford, I had the opportunity to see this Huntington Theatre Company production while on a layover in Boston. The intervening thirty years somewhat diminished the initial luster that Butley held for me, but it still remains a solid work even if it is very much a period piece and one which absolutely must take place in the early 1970s. The draw for me was top-billed Nathan Lane as Butley and he didn't disappoint. He ranted, he raved, he implored, he was adorable, he was abominable. It was a tour-de-force that only on very few occasions veered into "Nathan Lane-ism." Beautifully designed by Alexander Dodge, Michael Krass and David Weiner and skillfully directed by Nicholas Martin, this production was blessed with a remarkable supporting cast of both local Boston talent and New York veterans. Playing the pivotal role of Joseph Keyston was Benedick Bates, the (very, very hot) son of the late Alan Bates, who originated the role of Butley in London and New York and recreated his role in the film version. A layover evening well spent in the fabulous city of Boston - at the Huntington Theatre Company (BU Theatre), Boston

August, 2002. Bob's introduction to the wonder that is known as Barbara Cook. Although technically a concert on the stage of the Vivian Beaumont Theatre with just two (amazing) musicians, Wally Harper on piano and Jon Burr on bass, this had the feel and the vibe of an intimate musical. Words cannot describe how Barbara Cook can take a capacity audience at the wide Vivian Beaumont, tell her fascinating stories and gloriously sing her way through a catalog of exquisite songs and make that capacity audience somehow feel that she is talking and singing just for you. She was a 2011 Kennedy Center honoree. She is a true theatre treasure. - at the Vivian Beaumont Theatre, New York

That's it for now. More later. Ta.

KEEPING IT LOCAL

KEEPING IT LOCAL

It is perhaps ironic, given that we live in a city that is considered one of the country's leading theatre centers, that we see more theatre in other cities, primarily in New York, than in our own. There's a reason for that.

At the risk of offending folks in my hometown, I simply find theatre in New York more exciting and vibrant than theatre in Chicago. There's many reasons for that. Foremost is the preponderance of talent in New York. Stop gasping in horror, Chicago, it's true. Chicago, of course, has an impressive lineup of talent, and TimeLine Theatre is one of our favorite companies, but New York is the nation's theatre capital and as such is a magnet for creative and acting talents. Another is an attitude of smugness and pretension that sometimes infects Chicago theatre. I can't quite put my finger on it, but it's something I noticed back in the early 70s when I was a student. It went away for a long time, but now it's back. I didn't like it then; I don't like it now. What is a plus for Chicago is its relatively recent renaissance as a tryout city (recently Ann and Kinky Boots). We like that. And it was the tryout of the new musical Big Fish that sparked this streak of local theatre-going.

In the mix is one tryout, one Equity tour, one non-Equity tour, a production of a musical classic mounted by the Lyric Opera, a slight detour up to Milwaukee for a one-man show and, back to Chicago, three productions, two musicals/one play, mounted by local theatre companies.

Welcome to my hometown!

April, 2013. A non-Equity production that played like an Equity one with top-notch production values, a smoking orchestra, crisp choreography, a talented chorus and engaging performances including a star-making turn by 2012 (!!) FSU grad Stephen Anthony as Frank Abagnale, Jr. Mark my words...that young man is going places. Personally, I liked the score better than their "Hairspray," but felt the book wasn't as strong. A solid "B" show that deserved a longer Broadway run. Highly entertaining! - at the Palace Theatre, Chicago

April, 2013.  Preview performance. Well, it needs work. Quite a bit, in fact. But that's what pre-Broadway tryouts are for. I couldn't decide if the first act was quirky charm or just messy. The second act was better, but the ending needs a rethink. Considering it's Susan Stroman, there was some surprising directorial and staging sloppiness and one really terrible segment involving a witch. With all the bells and whistles, the show frequently loses its humanity and works best during its quieter moments. The score has a couple of pretty ballads, but overall is forgettable. I can only imagine what Flaherty & Aherns could have done with this. The talented cast works hard, especially Norbert Leo Butz, Bobby Steggert (solid performance, but his character needs to be revisited since at the moment it's pretty unlikeable) and, best for last, the radiant Kate Baldwin, whose touching "I Don't Need a Roof" is reason enough to see the show. I hope they can pull it together since there's a lot of potential. At this stage of the game, I'd give it a solid C+. - at the Oriental Theatre, Chicago

April, 2013. About 90 minutes away on I-94 lies the fabulous city of Milwaukee. We made the trip up to see the amahzing Seth Rudetsky and his wonderful Seth's Big Fat Broadway Show. In between howling with laughter, you actually learn something and when you're in the audience with a couple hundred theatre-savvy folks, well, it just makes for a delightful evening. If you ever get the chance to see him….go! - at Vogel Hall, Milwaukee

 (Yes, this is the famed Biograph Theatre where John Dillinger and the Feds got up close and personal.)

April, 2013. At 110 intermissionless minutes, it's either about 20 minutes too long or needs an interval. The acting was uniformly good (Bob's former student did a very nifty turn as the daughter), but I felt the writing went all over the place. Is the play anti-Mormon? Anti-religion? Anti-Idaho? A play about regret? A play about love? Why does the ex-wife make an entrance? Although nicely done, I felt it added nothing to the plot and the play sort of went from one sub-plot to the next and never really landed on one. And, I know I'm in the minority here since many of the critics raved, but I felt the lead character as written was terribly self-indulgent and as such, I didn't care for him or his situation. He's gay. His partner died. Okay, that's sad. Been there, done that. But my reaction to Steve's death wasn't to eat myself to death. Oh, boo hoo, poor Charlie. Yeah, the death of your partner sucks...big time, but Charlie's way to deal with it just majorly pissed. me. off. Didn't hate it; didn't love it. I think the playwright overreached and wrote about things he doesn't really know about. - at Victory Gardens Theatre, Chicago

May, 2013. The book may be creaky, but damn!, that Cole Porter dude knows how to write a tune! The book scenes seemed to be played a bit broader than in New York, but that actually made them funnier. This Equity tour featured Kathleen Marshall's sensational choreography, a glorious orchestra, a top-notch cast and Rachel York's dazzling star turn. Kudos to Jeremy Benton and Jeff Brooks who superbly filled in as Billy Crocker and Moonface Martin and a big shout-out to the gloriously wonderful Joyce Chittick as Erma. Her "Buddy Beware" was smoking hot! This is classic musical theatre at its best. Thanks, Roundabout Theatre Company for including Chicago as a tour stop! - at the Palace Theatre, Chicago

May, 2013. I was most definitely not bewitched, bothered and bewildered. Porchlight's production of the Rodgers & Hart classic was, sadly, pretty awful. Dull, misdirected characters, a really ugly and cheap-looking set and some really unfortunate performances by the ensemble made this difficult to sit through. To be fair, the singing was good, if bland, and it had some decent "Cabaret" dances. No, I'm not confused. One of the numbers appeared to have been lifted directly from the film of "Cabaret." Most reviewers really liked it, but it's getting so our main reviewers have lost their edge and pretty much like anything, unless a production in New York is being reviewed, in which case they nit-pick about everything. There was no sophistication; no edge. Joey was charming and kind of a bad boy,  but not the slimy douche he's supposed to be. Vera was played like she was nipping down to the kitchen for some coffee rather than a worldly, seen-it-all, done-it-all woman of means and, in the most perplexing performance of the show, Melba ("Zip") was played by an actress fresh out of Columbia College, in other words, at least a decade too young. The critics fainted over her despite the fact she didn't understand what she was singing. You could tell. No clue. None. And all her choreography was missing was a pole for her to gyrate against. Again, just so wrong for the song… and the show. Ah, well. Glad we got 1/2 price tickets. This company claims to produce "classic musicals Chicago style," whatever the hell that means. If this is an example, I think I'll pass on their "Chicago style" approach. A huge misfire. - at Stage 773, Chicago.

May, 2013. Cy Coleman provided the tasty score for this rarely done musical. While it may not have had the "wow" factor that I experienced when I saw the original production in New York, it did remarkably well considering the relatively small space it was performed in. I didn't like that the characters, except for Barnum and Chairy, always wore their circus clothes (really, you couldn't put Jenny Lind in a gown?) and the second act fell apart somewhat, almost as though the director ran out of staging ideas. The actress playing Joyce/Blues Singer was vocally meek and the actress playing Jenny Lind had inexcusably poor diction. Solid performances by Gene Weygandt (Bob's known him for years) as Barnum and Cory Goodrich as Chairy gave the show a nice professional sheen. Sadly the show has been playing to very small houses and that's a shame since it's an enjoyable time in the theatre. - at the Mercury Theatre, Chicago

May, 2013. A 37 piece orchestra! 23 strings, real strings!! Bliss! I can't even imagine the thrill those first audiences felt in 1943 as this trailblazing iconic musical unfolded before them. The amplified sound was a bit dicey, but perhaps we were simply too close, and the supertitles were not necessary (there's someone in the world who doesn't know the lyrics? Seriously?), but those are mere quibbles in an evening of pure pleasure. John Cudia and Ashley Brown were terrific as Curly and Laurie. Understudy Paul La Rosa was a powerful Jud. Curtis Holbrook was an energetic Will, Usman Ally a very funny Ali Hakim and Tari Kelly was simply sensational as Ado Annie. And the singing? Fantastic. The Agnes De Mille choreography? Classic. The sets and costumes? First class all the way. It's perhaps ironic that this show, the first truly integrated musical, plays homage to a conservative, politically homophobic red state. Perhaps the state needs to pay heed to Oscar Hammerstein's timeless lyrics, slightly paraphrased to make my point, "Oh the straight folks and the gay folks should be friends…."  Oklahoma! performed by professionals. What a concept! Loved it. - at the Civic Opera House, Chicago

That's it for now. Until later.