Porchlight's 'Candide' a Delightful, Tuneful Romp

For the zippiest and most whimsical performance on the boards in Chicago this fall, look no further that the under-two-hours, no intermission production of the legendary "Candide," produced by Porchlight Music Theatre at Lakeview's Theatre Building Chicago. Starring stalwart local actor David Girolmo, bringing his warm, commanding presence to the roles of Dr. Voltaire, Dr. Pangloss, the Governor and "Host" (he appeared in the show's most recent Broadway outing, by the way), the musical/operetta/opera from the pen of Leonard Bernstein is revealed here to be a witty and sophisticated, ribald and thought-provoking rumination on the state of what it means to be a grownup in our confusing, compromising and congenial world.

Young Ryan Lanning and the even younger Caitlin Collins are the title lost boy and his childhood sweetheart, the virginal yet perpetually violated Cunegonde. They are talented, well-schooled and sweet, singing beautifully and prompting uproarious laughs and serious sadness.

Up until about fifteen years ago, there were (in my mind, anyway) five different "Candide"s (who knows how many there are by now?).  There was the original Broadway satirical comic opera from 1956 (starring the legendary Barbara Cook), the 1973 environmental "Chelsea" version that achieved the show's longest Broadway run in what would now be called a "revisal," the early ‘80s "opera house" version, the late ‘80s "Scottish Opera" version and the 1991 Bernstein-conducted all-star recording with the late Jerry Hadley and Adolph Green.

While books can and should be written about the various merits and drawbacks of these various incarnations, charting the contributions of a slough of noteworthy collaborators including Lillian Hellman, Harold Prince, Stephen Sondheim, John Latouche, Richard Wilbur, Hugh Wheeler and John Mauceri, suffice it to say that Porchlight is presenting essentially the 1973 version, the most "theatrical" and yet probably the least "musical" version available. Yet even this version, a wonderfully droll script and expert musical revision/edit, has been improved by judicious slight-of-hand (utilizing the other existing materials, I believe) by director L. Walter Stearns and musical director Eugene Dizon.

The result is a black-box setting of platforms and steps by Kurt Sharp, stretching wall to wall with the audience on all four sides and the orchestra of six (augmented at times by four of the actors) always visible in the middle. (The orchestra cleverly interacts with the cast of fourteen, and actually seemed to enjoy doing so.) The set emphasizes Voltaire's tale of an episodic journey away from naivete and toward self-actualization, while not breaking Porchlight's finances by requiring a new set for each location depicted. Lighting by Justin Wardell tells us where to look, and the costumes by Bill Morey provide most of the show's 18th-century milieu, wittily evoking both the old world and the new while bringing in contemporary satiric edges.

In my experience, there are only three musicals from Broadway's Golden Age which are always performed with the entire original orchestral overture. They are "Gypsy," most often cited as the standard-bearer for such overtures, "Carousel," which may not count as an overture at all because its "Carousel Waltz" is not a compendium of tunes to come and has always been accompanied by onstage pantomime, and "Candide," whose "Overture" has been a staple of professional symphony orchestras almost from the beginning. To its credit, Porchlight presented the entire overture last Sunday, but in doing so created the only real misfire of the evening.

The music is pretty difficult, very exposed, thinly orchestrated to those who have heard it in almost any other situation, and was performed by a visible orchestra of young-looking, valiant instrumentalists. I was sure that, contrary to tradition, Dr. Voltaire or Cunegonde or the Baron and Baroness would come out and perform some unnecessary pantomime to take the audience's eyes, if not our ears, off the famous overture, while leaving us grateful to at least be hearing it. Alas, that was not the case. The opening night applause was polite, if relieved to have survived the overture experience. To be fair, I am sure that future performances will be played much more confidently. I was proud for the integrity of everyone involved.

However, have no fear! From that point forward, Girolmo and company entertained us with a thrilling tale of narrow escapes, miraculous coincidences and deep, abiding love, told with the help of some of the very best theater music (nay, some of the very best music, period) of the post-War period. Collins's "Glitter and Be Gay" was a joy, with the recent Northwestern University graduate showing off dazzling high notes and a very young-sounding middle voice full of girlish wonder. Lanning's "It Must Be So" and his verse of the stirring finale, "Make Our Garden Grow" were clear, thoughtful and well-placed. They make a sexy and fun pair, and fully inhabit the vicissitudes of their roles.

These three are ably supported by Kristen Freilich as a language and lore-laden Old Lady, Jeremy Rill as the handsome and funny Maximillian, Sarah Hayes as a new type of Paquette and a singing and dancing ensemble led by stand-outs Joseph Tokarz and Cameron Brune. Andrew Waters's fun and charactery choreography and Kevin Carney's hard-working sound design elevated the efforts of all involved.

With such difficult and complex (not the same thing) songs to deliver as "The Best of All Possible Worlds," "Auto Da Fe," "I Am Easily Assimilated" and "Bon Voyage," and with jokes about race, religion, sex, sexuality, cross-dressing and disease, "Candide" is laden with pitfalls that have absolutely no bearing on this sure-footed mounting of a once-cult, now afficianado music theater masterpiece. As no production of this material is likely to ever be considered definitive, all productions offer another chance to be exposed to funny, meaningful, very adult creativity. Porchlight's is definitely worth seeing, hearing and enjoying. 

Indeed, each generation of theater artists and audiences should make their mark on this enduring property, now firmly a staple of so many types of performance groups. I had a grand time experiencing the work of the next generation, and if you've read this entire review-well, you will too. Savor "Candide." What a satisfying way to start off the fall theater season! 

Performances are now through November 2, 2008, Fridays and Saturdays at 7:45 pm and Sundays at 2:30 pm. Single tickets are $37 with discounts available for students and seniors. Call the Theatre Building box office at (773) 327-5252 or visit www.ticketmaster.com.

Photos of Ryan Lanning and Caitlin Collins by Johnny Knight.

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