Review: The King and I (Porchlight Music Theatre Chicago)

     
     

Getting to love you

     
     

Brianna-Borger and Wayne Hu

  
Porchlight Music Theatre Chicago presents
  
The King and I
  
Written by Richard Rodgers and Oscar Hammerstein II
Directed by L. Walter Stearns
Music Directed by Eugene Dizon
at Stage 773, 1225 W. Belmont (map)
through June 5  |  tickets: $35  |  more info

Reviewed by Lawrence Bommer

L. Walter Stearns’ final staging for Porchlight Music Theatre (he’s moving on to manage the Mercury Theatre) is a splendid swan song. Efficient but never merely dutiful, this tender-loving revival of Rodgers and Hammerstein’s 1951 treasure lets the talent on this stage honor the brilliance on the page. Despite lacking the budgets of Marriott Theatre’s 2000 revival or the most recent one at Drury Lane Oakbrook in 2007, Porchlight never allows less to be lacking.

Erik Kaiko as Lun Tha and Jillian Jocson as Tuptim - King and IBesides, look at what they’re working with! It’s rewarding how much the R & H musicals amplify each other, yielding a whole much bigger than its parts. In The King and I we see a British schoolteacher who changes the children around her and shapes the future through her enlightened tutelage of the Crown Prince of Siam. Anna Leonowens anticipates Maria Von Trapp, an Austrian governess who changes the children and around and escapes the present to pursue the sound of music. Likewise, Flower Drum Song carefully chronicles the cultural changes in a community. Above all, like South Pacific, King and I delivers an action lesson in tolerance. Anna and the King learn from each pother, he forbearance and humility before the facts of life, love and death, she the discipline and tradition required to keep a nation together and, more importantly, unconquered.

The closest comparison outside the R & H canon is, interestingly, Fiddler on the Roof: Both musicals deal with central characters coping with change during convulsive historical periods, desperate to preserve tradition (and power) while wryly accepting the future, as much on their terms as possible.

The King’s transformation (and, by implication, that of Siam) is accomplished in stunning songs like “Getting to Know You” and “Shall We Dance?” that win us over from the first note. Well worth the succession from Gertrude Lawrence to Deborah Kerr to Donna Murphy, Brianna Borger’s warmly engaging Anna brings quicksilver resilience and five different kinds of love to her widow, mother, tutor, confidante and lover. Her patter songs, “Shall I Tell You What I Think of You?,” crackles with contagious indignation and hard-core spunk. The first Asian I’ve seen playing the King, burly Wayne Hu stamps the King with wizard timing, wry irascibility and bedrock dignity. The fact that he’s no infallible leader only makes his aspirations to authority more poignant and less threatening.

It’s impossible to overpraise Jillian Anne Jocson’s lovely and lyrical Tuptim, enchanting in “I Have Dreamed” and “We Kiss in Shadow” with ardent Erik Kaiko as her doomed beloved, or Kate Garassino’s elegant Lady Thiang, wisdom wrapped in reticence. The Siamese wives and children (here reduced to six) are marvels of grace in energy and as comely as a palace frieze. Likewise Bill Morey’s elaborate Eastern costumes, their shimmering and sumptuous fabrics lit by Mac Vaughey with what must be new colors, and Ian Zywica’s unit set with its Oriental throne room, filigreed archways, and burnished floor. (Flanking the king are dualistic symbols of East and West—a chess set and a statue of the Buddha.) Brenda Didier’s choreography, faithful to Jerome Robbins, turns “‘The Small House of Uncle Thomas’ Ballet” into a cascade of astonishment and artful reinvention.

For purists like me there’s one cavil: This revival’s two-piano accompaniment, however beautifully played by Eugene Dizon and Allison Hendrix, is nonetheless a letdown, robbing the songs of the rich orchestrations Rodgers intended. Less crucial, the delightful scene in which the ladies of the court try to maneuver inside European crinoline ballgowns and corsets is necessarily omitted. But new to me is the royal school’s anthem sung by Anna and her princely pupils, as well as a charming reprise of “A Puzzlement” sung by the sons of the principals that extends the cultural clash to the next generation. You win some, you lose some.

  
  
Rating: ★★★
  
  

Brianna Borger, Dylan Lainez, Tatum Pearlman, Lydia Hurrelbrink

Continue reading

Review: Porchlight’s “Miracle on 34th Street”

A Retro Christmas Miracle

 

Porchlight Music Theatre presents:

Miracle on 34th Street

Adapted by Patricia DiBenedetto Snyder, Sill Severin and John Vreeke

Story by Valentine Davies
Screenplay by George Seaton
directed by
L. Walter Stearns
thru January 3rd, 2010 (ticket info)

Reviewed by K.D. Hopkins

MIRACLE ON 34th STREET--Santa and Susan I have to admit to a bit of “Scrooge-ism” when it comes to the holiday season in America. The commercials, the billboards, the store windows dressed in fiberglass snow and plaid carolers when I am still finishing Halloween candy stuffed in the bottom desk drawer- you get the idea. I managed to get into the spirit in spite of myself. I got a visit from a little angel in the form of my niece Alexandria. She is a very precocious seven years old who likes spiders. Porchlight Theatre’s publicity for Miracle on 34th Street stated that this was the perfect first theater experience for children and would become a holiday tradition. I am happy to say that the publicity was right.

This production of Miracle on 34th Street is from the Porchlight Music Theatre Company. They are known for classic productions as well as new interpretations of musicals. This is already a classic film and now it has been excellently translated to the stage. The moment that Kris Kringle’s sleigh appears on the stage is when the magic begins. A veritable toyland pops out of Santa’s big red sack and performs to start the play. We are then told that this Santa is a lucky replacement for the other guy who showed up drunk. The twist is that this Santa believes that he is the real thing. It is a tale that we all know from afternoons around the television or at the repertory movie house.

Christa Buck plays the cynical 1940’s career woman Doris Walker. She is all business and doesn’t have time for the fantasy that is Christmas. She also has little patience for the complications of romance that shows up in the form of Fred Gailey played by Karl Hamilton. They both seem to have stepped out of a Technicolor production. The entire cast is a step back in time and that is perfect for this production. The cynicism of Doris Walker and her daughter Susan is born out of divorce and abandonment issues. That is my modern interpretation but the portrayals are embodied with the post-war innocence of the 1940’s. Somehow everything works out in America if you only believe. It’s a beautiful idea whose time is coming around again. The part of Susan Walker is played by Laney Kraus-Taddeo. She is another talented product of the Piven Theatre Workshop in Evanston. Ms. Kraus-Taddeo doesn’t hit any false notes or project any of the treacle that is the risk of any child actors. All of the children in this production are a delight to watch. The play makes room for a child in the audience to talk to Santa on stage. It was a funny moment with an untrained participant who asked for Christmas lipstick. Your guess is as good as mine as to what that is but Jim Sherman as Kris Kringle played right along with jolly humor.

I have to say that it was the performance of Jim Sherman that really put me in the Christmas spirit. He has the sparkle and the charm that – for me – embody Santa Claus. He wears a suit that is more in the tradition of Father Christmas or Sinter Klass from the Netherlands. Even when he was clad in layperson’s attire he looked like Santa. I also enjoyed the character of Mr. Macy played by Chuck Sisson. I’m a girl who grew up on Mr. Drysdale, Mr. Mooney, and Thurston Howell III. There is a certain carriage and technique to carrying off the bluster of such a character in my opinion and Mr. Sisson has it much to my enjoyment.

The entire cast is a joy to watch in Miracle on 34th Street. The supporting villain character of Mr. Sawyer is played with relish by Rus Rainear. Like the movie, Mr. Sawyer is a ferret-like guy who almost kills Christmas while in cahoots with the ambitious District Attorney played by Steve Tomlitz.

Suspense! Romance! Knee Slapping Laughs! It was a great way to spend a Sunday afternoon. Most importantly, it passed the “Alexandria Test”. My niece Alexandria was enchanted the moment the action began. That is saying something considering that we had been to Uncle Fun and bought a “can of salted nuts” which contained three fake snakes. Lexie was all about the snakes until Kris Kringle and the music began. She also got to take a picture with Santa on the stage after the play that was a big thrill. “Auntie Kathy! I got to see Santa Claus and be on the stage!”

You have to bring your own camera and resist the urge to want to sit on Jim Sherman’s lap yourself. I’m telling you, the guy took me back to 1965 when I really believed.

 

Rating: ★★★½

 

Continue reading

Jeff Nominations – Best Production of a Musical or Review

Large Theatre Company

Carousel, Court Theatre and Long Wharf Theatre

La Cage aux Folles, Theatre at the Center

Les Misérables, Marriott Theatre

Passion, Chicago Shakespeare Theater

The Producers, Marriott Theatre

Sweet Charity, Drury Lane Oakbrook

 

Mid-Size Theatre Company

The Hunchback of Notre Dame, Bailiwick Repertory Theatre

Nine, Porchlight Music Theatre Chicago

 

Best Production – Revue

Ain’t Misbehavin’, Goodman Theatre

Campaign Supernova! or How Many Democrats Does It Take to Lose an Election?, The Second City e.t.c.

Ella, Northlight Theatre

The Mistress Cycle, Apple Tree Theatre