Donna McKechnie: Inside the Music
Paper Mill Playhouse, NJ - Oct. 2, 2001
Review by John Kenrick
Transplanting a cabaret act to a Broadway sized house can be a dangerous
move. A performance that crackles in the intimacy of a nightclub can wither facing
more than a thousand seats. The key to pulling
off such a transition is having a performer with a real theatrical instinct.
Well, I dare you to find anyone alive today who has more solid theatrical
instincts than Donna McKechnie. The world remembers her as the original Cassie
in A Chorus Line, but her career began in the chorus of
How to Succeed In Business. When this lady stepped on to the stage of New
Jersey's Paper Mill Playhouse to begin her one-woman show, it was like watching
any monarch reclaim a realm that is theirs by divine right. Backed by a
top-notch trio (under the deft direction of pianist Dennis Buck), Ms. McKechnie
provided more satisfaction than most of the multi-million dollar spectacles on
today's Broadway could ever hope to offer.
She states her premise early on – "In
A Streetcar Named Desire, Blanche Duboise said, 'I don't want realism, I
want magic!' Well, I don't want magic. I want musical comedy!" For the next
two hours, she delivers the joy of musical comedy at its best, in a beautifully modulated
evening of songs, smiles, and at least a few tears. Playwright Christopher
Durang has helped shape one of the most entertaining solo turns I've seen in
years. Of course, it helps when the performer has had a life like McKechnie's.
How many people can reminisce about their dinner with Fred Astaire? Or the
times they worked with Frank Loesser, Bob Fosse, Stephen Sondheim . . . and, of
course, Michael Bennett. She shares her memories of Bennett without any hint of self
pity or rancor – and you feel she is being totally up front when she says how
much she still misses him. She also makes no bones about the professional frustrations
she has known, like the time she responded to an audition notice looking for "a
Donna McKechnie type" – and didn't get the part!
The first half of the evening includes a witty Hollywood medley and memories
of how dance provided the escape from an unhappy childhood. In the second
half, McKechnie takes us show by show through the highlights of her career. She
recreates "If They Could See Me Now" from her tour of
Sweet Charity, the full "You Could Drive a Person Crazy" trio from
Company, and even the hilarious, neck-whipping "Turkey Lurkey Time" from
Promises, Promises. A touching rendition of "In Buddies
Eyes" reminds us how pale the recent flop Broadway revival of
Follies was compared to the glorious Paper Mill version she starred in
several years ago.
Inevitably, she comes to
A Chorus Line, recreating the moment when the creators of that show
presented her with her solo, a breathtaking soprano showpiece that McKechnie
still finishes with a gorgeous high C, only to comically collapse in a heap from the
effort. Luckily, the song was replaced by "The Music and the Mirror,"
and she still delivers that beloved number in its original key, with every lyrical
step of Michael Bennett's choreography intact. Because
Paper Mill is currently reviving ACL, there was the added thrill of seeing her
perform with an exact replica of the revolving mirrored wall that was her backdrop a
quarter of a century ago.
This wasn't an old-timer coasting on faded talent, but a vital artist at the
peak of her abilities, delivering a heartfelt rendition of her most memorable moment.
We didn't have to coast on memories of "back when" – we had the
genuine article right in front of us, with all the power of now. With a
final toss of her head, the number ended, and a grateful roar filled the theater. I
can't tell you whether or not there was a dry eye in the house. I was too busy
wiping away my own tears of gratitude to notice. After the nightmare of these past
few weeks, it felt so damn good to see such a life-affirming performance. How
wonderful to feel the power of musical theater in the hands of such a star still worthy
of her legend. Not just surviving, but thriving – that's what Donna McKechnie, her
wonderful act, and the legacy of A Chorus Line are all about.
By the by, it is my birthday tomorrow. Thank you, Ms. McKechnie, for such a
wonderful gift.
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