Performing Tonight: Liza Minnelli's Daughter
Created by Mary Fons . At: The Neo-Futurists, 5153 N. Ashland. Phone: 773-275-5255; $10-$15 . Runs through: June 4
The King and I
Score: Richard Rodgers; Book and lyrics: Oscar Hammerstein II . At: Porchlight Music Theatre at Stage 773, 1225 W. Belmont. Phone: 773-327-5252; $38. Runs through: June 5
Performer and writer Mary Fons looks amazingly like award-winning star and gay icon Liza Minnelli. So it's only natural that she would want to capitalize on that association in a funny and introspective world-premiere called Performing Tonight: Liza Minnelli's Daughter for the Neo-Futurists.
Not entirely an impersonation act, Performing Tonight is more of a thorough and comical analysis of how a Midwesterner like Fons has become obsessed with Minnelli and the unlikely parallels between the lives of the two performers. Throughout the show, Fons attempts of bolster her argument that she is the biological daughter of Minnelli (but it's clear that she's more kin in spirit and longing for superstardom).
To aid in her journey, Fons is assisted by her two fey black-clad Fosse-style dancer-sidekicks Donnell Williams and Joseph Schupbach, who also take on other characters life and wryly comment on this whole strange show which is part loving homage and E! True Hollywood Story-style examination of Minnelli and her ardent fan who claims to be family.
Director Sonja Moser coordinates the parade of Minnelli songs and fashions wonderfully, though there are some slow moments (the imagined conversation between Fons and her "grandmother" Judy Garland on drug abuse is a particularly weak scene—omitting the fact that MGM pushed uppers and downers on a juvenile Garland throughout her film career).
Performing Tonight no doubt fits in the line of Neo-Futurists meta-styled shows that examine a topic or subject through an odd and very personal angle. But Performing Tonight stands out with its fun and razzle-dazzle sheen to this examination of celebrity and struggling performers who long for some of that same stardust to rub off.
Meanwhile, it would be remiss not to mark L. Walter Stearns' farewell production from his position of artistic director for Porchlight Music Theatre. Before he assumes his full-time duties with the Mercury Theatre, Stearns is helming Porchlight's handsome first take on a Rodgers and Hammerstein musical, The King and I.
Now this 1951 musical can't really escape its original leading man Yul Brynner, or its very Western imperialistic views. But once again Stearns uses the intimacy of a Porchlight production to his advantage to focus on the personal relationships in the script and allowing them to shine brighter than usual.
Wayne Hu is a commanding King with a booming baritone voice, contrasting nicely with the stubborn Anna Leonowens of Brianna Borger (perhaps a tad too young with a belting sound to her voice for my personal tastes, but still very effective).
Also making the production a musically impeccable production is the dual grand piano work of conductor Eugene Dizon and pianist Allison Hendrix. This King and I is a solid and strong Porchlight farewell from Stearns.
