Sparkling, transformative and deeply human
Review by Lauren Whalen
Judy Garland never stood a chance: a performer since childhood, she was literally drugged by the powers that be and lived a constantly-seeking, never satisfied existence. And yet she's an icon for a reason: when Judy stepped onstage, the world changed. That is, when she wasn't falling asleep, slurring and/or forgetting her lyrics. Judy overdosed in London, and was found on the toilet by her fifth husband, Mickey Deans. End of the Rainbow is a heartbreaking musical play with a bravura leading performance by Angela Ingersoll that explores one of Judy's final gigs, and the drama
In 1968, Judy was at a low point: she had a canceled television show, had been fired from a film and fell asleep during a performance. She desperately needed the money from a six-week engagement at a London dinner cabaret, and desperately craves the attentions of her new fiancée Mickey Deans (Kyle Hatley). Also in the mix is Judy's accompanist Anthony (Jon Steinhagen, also 's musical director), a lonely British gay man who vacillates between adoration and frustration where Judy is concerned. Judy entertains her beau and pianist with manic energy, humming in her distinctive vibrato while rummaging for cigarettes. She's alternately happy in foggy London and homesick for Los Angeles, smothering Mickey with affection and screaming at him not to pay the hotel bill, and charming Anthony with stories when she's not throwing sheet music in his face. Scenes in the hotel room are interspersed with Judy's concerts, which vary in quality depending on her preshow mood, her stage of substance withdrawal and her sanity.
Who is Judy Garland, really? Who isn't she? Peter Quilter's Tony-nominated play skillfully unpacks the twilight months of a legend, mid-downfall. Instead of feeling exploitative, End of the Rainbow is truly and deeply human. Judy Garland lived a life that most of us can only imagine, one of endless movie cameras, concert halls, adoration and of course, pills. Yet in many ways, she was like every other human being: sometimes lonely, always vulnerable, one who comes alive when doing what they love. When Judy sang, one wanted her to sing forever. Beautifully directed by Michael Weber, End of the Rainbow doesn't lionize an extremely flawed woman, but presents her as the complex creature she was.
Steinhagen does triple duty here: as conductor, music director and the ever-faithful character of Anthony. He pulls each off with remarkable skill and sharp wit, deftly showing Anthony's inner conflict between his loyalty to and exasperation with the unpredictable, mercurial Judy. As long-suffering fiancée Deans, a complex person himself, Hatley displays believable chemistry with Ingersoll's Judy, as well as palpable love and frustration. But this End of the Rainbow belongs to Ingersoll, who captivates from beginning to end. In Ingersoll's capable hands, Judy is frenetic and demanding, lovable and charming, and always, always a force to be reckoned with onstage.
End of the Rainbow is a sad but respectful tribute to the end of an icon, and the end of an era. Rich with beautiful music and nuanced portrayals, Porchlight Theatre's latest is a haunting two and a half hours that will stay with you long after curtain call. End of the Rainbow isn't always easy, but it is forever memorable.
End of the Rainbow continues through December 9th at Stage 773, 1225 W. Belmont (map), with performances Thursdays at 7:30pm, Fridays at 8pm, Saturdays 4pm and 8pm, Sundays 2pm. Check schedule for additional dates. Tickets are $45-$51, and are available by phone (773-327-5252) or online through Vendini.com (check for half-price tickets at Goldstar.com ). More information at PorchlightMusicTheatre.org. (Running time: 2 hours 15 minutes, includes an intermission)
Photos by Kelsey Jorissen
behind the scenes
Michael Weber (director), Jon Steinhagen (music director, conductor), Christopher Rhoton (scenic design), (costume design), Shelley Strasser Holland (lighting design), (projection design), Mealah Heidenreich (properties design), Robert Hornbostel (sound design), Christopher Pazdernik (assistant director), Alex Rhyan (production manager), Kelsey Jorissen (photographer)
Tags: 16-1118, Alex Rhyan, Angela Ingersoll, Bill Morey, Chicago musical theater, Chicago Theater, Christopher Pazdernik, Christopher Rhoton, Felipe Jorge, Jon Steinhagen, Judy Garland, Kelsey Jorissen, Kyle Hatley, Lauren Whalen, Mealah Heidenreich, Michael Weber, Peter Quilter, Porchlight Music Theatre, post, Robert Hornbostel, Ross Hoppe, Shelley Strasser Holland, Stage 773
Category: 2016 Reviews, Lauren Whalen, Musical, Musical Revue, Porchlight Music Theatre, Stage 773