David Pittsinger wows the crowd at Gibson’s Steakhouse

Big talent represents “South Pacific” at Gibson’s

 southPacific_david

By: Timothy McGuire

I recently had the opportunity to attend a media luncheon for the upcoming touring performance of Lincoln Center Theater’s production of South Pacific. Broadway’s successful tony award winning musical will be playing at the Rosemont Theatre for a limited one-week engagement November 24 – 29, 2009. (ticket info)

The passion and excitement for this specific production was evident in the enthusiasm expressed by the people involved in bringing this production from New York to Chicago. They sincerely believe that this is an extraordinary show offering the audience the rare opportunity to experience a performance done in the spectacular old Broadway fashion, featuring a huge full orchestra unlike anything seen in current Broadway productions today. The touring show of South Pacific promises to be a near replica of the prize-winning musical that started in New York.

The most impressive endorsement for this production was the opportunity to hear the astonishingly powerful and elegant voice of David Pittsinger, who will be playing Emile. The impact of Pittsinger’s romantically forceful bass-baritone voice just a few feet away brought the small audience at Gibson’s Steakhouse to emotional heights, and one can only imagine the magnificence of hearing the full production of his songs produced on Rosemont Theatre’s spacious stage.

southpacific_iconDavid Pittsinger also was a terrific speaker, appearing genuine in his belief in the significance and relevance of South Pacific to today’s audience. Pittsinger is the living embodiment of his character Emile. His wife is born of minority decent and he has interracial children (who he is bursting with pride to talk about.) His belief in love, unification and racial equality is evident in his actions and his loved ones around him.

The original role of Emile de Becque was written for an opera singer, and David Pittsinger is a talented, internationally acclaimed opera performer working with the Metropolitan Opera in New York City (most recently portrayed Angelotti in “Tosca”at the Metropolitan Opera) and living and working most of the year in France. The advantage that Pittsinger is also a world-class actor increases the quality of his role and greatly supports the well-written book that goes along with the classically entertaining music in South Pacific. With themes of war and racial conflict, along with the joyous uplifting story and cleverly catchy songs, this year is a fantastic time to enjoy Rodgers & Hammerstein’s South Pacific.

Review: Prologue Theatre’s “Sex” by Mae West

Prologue Theatre’s “Sex” Only Puts Out a Little

 Prologue Theatre Co - Sex 2 (photo by Alix Klingenberg)

Prologue Theatre presents:

Sex

by Mae West
directed by Margo Gray
thru November 21st (ticket info)

reviewed by Paige Listerud

Prologue Theatre Co - Sex 5 (photo by Alix Klingenberg) I’ve long wanted to see Sex, the play that put Mae West in jail. Mae West was one of America’s great crossover artists, bringing more risqué influences from vaudeville and jazz to the so-called “legitimate” stage on Broadway. She appropriated elements from African-American artists and the drag balls of the Pansy Craze, lifting comic styling wholesale from female impersonators Burt Savoy and Julian Eltinge. For her part, West daringly imported queer culture into the mainstream with her plays The Drag and The Pleasure Man. But then Mae West was about all sex, not just the straight variety.

Prologue Theatre Company is obviously conscious of the historical value of these American theatrical and cultural developments, staging Sex at the turn-of-the-century Gunder Mansion, now serving as the North Lakeside Cultural Center. The play occurs en promenade, an element that both does and doesn’t work for the production. Transitioning the audience from room to room certainly emphasizes shifts in place from Montreal to Trinidad to Connecticut. However, the time it takes for the audience to make it into their seats from one room to the next also produces clumsy delays between scenes and the travel up and down stairs definitely limits accessibility.

What created scandal in West’s time seems tame in ours. Yet Jes Bedwinek, as the savvy working girl Margy Lamont, infuses her leading role with the right amount of suggestiveness. She borrows just enough of West’s timing and inflections without devolving into an utter Mae West caricature–successfully acknowledging her illustrious forebear while at the same time making the role her own. Anne Sheridan Smith molds her role as the philandering society matron Clara Stanton, to be the perfectly balanced foil to Bedwinek’s Margy—just as lusty, yet hemmed in by cultural refinement and conventional restraints. As the doomed prostitute Agnes, Rebecca L. Maudlin brings realism and sympathy to a role that could have been rendered as simply pathetic. It’s a woman’s play, after all; the things of greatest consequence happen to the women characters.

 

Prologue Theatre Co - Sex1 (photo by Alix Klingenberg) Prologue Theatre Co - Sex 3 (photo by Alix Klingenberg)
Prologue Theatre Co - Sex 6 (photo by Alix Klingenberg) Prologue Theatre Co - Sex 4 (Photo by Alix Klingenberg)

Director Margo Gray has honed the cast to adhere to naturalism, as opposed to the heavily stylized acting of West’s era. It’s a choice that definitely scales the production to the more intimate setting of Gunder Mansion, as well as clarifying and updating the play for a modern audience. It’s also a choice that exposes the weaknesses of uneven casting. Gray has brought from her successful run of The Wonder: a Woman Keeps a Secret Sean Patrick Ward (Jimmy Stanton) and Christopher Chamblee (Lt. Gregg), yet many cast performances are too scattershot to convey a cohesive ensemble. Nathan Pease’s turn as Margy’s pimp, Rocky, is sleazy enough yet still doesn’t contain the menace needed to threaten convincingly.

For my money, the audience gets stinted the most during the more vaudevillian portions of the play. The opening of the first scene in Trinidad should shine with musical numbers that warm the audience to Margy’s culminating performance of “Shake That Thing”—a classic Ethel Waters tune that Mae West appropriated. A little more jazz and enthusiasm, as well as a little more shakin’ that thing, might easily make up for musical deficiencies. Or perhaps Tinuade Oyelowo should be given more numbers to rock the audience with that voice of hers. Whatever the case, this is supposed to be the Roaring Twenties, not the Ironic 90’s or the Tight-ass 50’s. It’s not a good sign when there’s more fun to be had listening to the singing of drunken sailors on shore leave.

All in all, the shortcoming’s of Prologue’s production resigns it to community theater status for all their efforts. As Mae would know, it takes performers with a lot more on the ball than this to produce good old-fashioned entertainment.

Rating: ★★

 

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