A Glimmer of an Idea

Burnham’s Dream: The White City – Lost and Found Productions 

 

In 1893, Chicago was awarded the much sought-after contract to present the World’s Columbian Exposition, a world’s fair that would commemorate the 400th anniversary of Christopher Columbus’ arrival in the New World. Chicago beat out New York, Washington D.C. and St. Louis for this honor. Add to this the fact that Chicago had only recently risen from the ashes of the devastating fire in 1871 that destroyed most of the Windy City. Its citizens wanted to show the world that Chicago was an optimistic, hard-working City of Broad Shoulders, and should be recognized internationally for its social, cultural, artistic and architectural accomplishments.

With a book by June Finfer, music by Elizabeth Doyle and lyrics created by both Ms. Finfer and Ms. Doyle, this original work, having its world premiere at Theater Wit, is noteworthy primarily for its historical view of Chicago. As a musical, however, the piece is somewhat disappointing. To begin with, the subject matter doesn’t particularly lend itself to singing and wild dancing. It feels strange watching and hearing the songs and choreography that seem to come out of nowhere. Secondly, the melodies aren’t very catchy or appealing, and the lyrics are often trite and filled with cliches. 

One exception is the heartfelt, “Sweet Land of Liberty,” exquisitely sung by Arielle Leverett, playing Civil Rights Activist Ida B. Wells. Later, Miss Wells adds her voice to a stirring group number with Laura Degrenia, as Margaret Sullivan, and Genevieve Thiers, as Bertha Palmer. “If We Sing Together,” is a rousing anthem to the oppressed populations of that time, in this case women and African Americans. They’re joined near the end of the song by Chase Wheaton-Werle, as Michael, and Jacob Fjare, as Patrick—two young Irish workers, also struggling for their rights. In fact, if the musical had focused more on how different races and cultures were being ill-treated during the end of the 19th century, the piece could be seen for its parallels to today’s world. As it now plays, that’s a secondary storyline that’s not given enough prominence. 

Another problem with this show is that the strongest actor/singer of this production, and the character with whom the audience most passionately identifies, dies at the end of the first act. A very talented newcomer to Chicago, Sam Massey appears in his first Theater Wit production as Daniel Burnham’s architectural partner, John Wellborn Root. It’s through the eyes of this kind, talented visionary that we see how much his architectural partner truly wanted the World’s Fair to come to Chicago. Massey stands out as part of several group numbers, such as the opening songs, “We Gotta Get It,” and “Opportunity,” as well as in “Buildings That Dance” and “Are You In.” But Mr. Massey’s lovely solo, “Celestial City,” allows the actor to truly shine. Also, assuming several supporting roles, Robert J. Brady, as both Richard Hunt and Harlow Higinbotham, and Michael Kingston, as Chicago banker Lyman Gage, and others, are two more terrific talents who help add gravitas to the production. 

Not nearly as successful in his portrayal is another Chicago newcomer, Daniel Leahy, who plays a very quirky, strangely moody, Louis Sullivan. Called the  “Father of the Modern Skyscraper” and credited with the phrase, “form follows function,” Sullivan was one of the ten architects chosen to help build The White City of the Columbian Exposition. Although he wanted to design more than just one building, Louis Sullivan eventually settled for creating a massive, arched Transportation Building, that looked nothing like the rest of the Fair. Addressing others in the third person, Leahy plays Louis Sullivan as a bizarrely eccentric artist with a giant ego. It’s hard to imagine that this was the brilliant architect who mentored Frank Lloyd Wright or teamed up with the talented German architect Dankmar Adler to create so many iconic Chicago buildings. He joins with Michael, Gage and Higinbotham to sing “Out Eiffel Eiffel” and with Hunt and Burnham for “It Must Impress.” But the footprint he leaves in this musical is strange, to say the least. 

The most difficult performance to evaluate is Pavi Proczko’s portrayal of Daniel Burnham. As the titular character, Mr. Proczko has an impressive resume of credits, both on and offstage. The actor has a pleasant singing voice but it’s not nearly as strong as those around him. The character of Burnham also comes off as an antihero, always at odds with every other character around him. As such, it’s very difficult to cheer for this man in his endeavors. Partly due to the script, partly because Mr. Proczko might be miscast in this role, the main character of this musical just isn’t as memorable as those who support him.

The technical support behind this show is earnest, but sometimes inconsistent. Erik Wagner’s staging, in particular, isn’t anything special. He merely keeps the traffic flowing, having his characters emerge onto the stage, play their scene and then disappear again behind scenic designer Jose Manuel Diaz-Soto’s flimsy-looking wooden timbers and movable draperies. Joseph Burke’s informative historical projections, however, do a great deal to help the audience visualize the buildings of the Columbian Exposition. Alaina Moore’s period costumes are quite nice, especially the milky and ivory-toned palette she employs for the final scene in the White City. 

Jessica Texidor’s choreography is more of a problem. It feels way too energetic and athletic for the music or for the style of this show. The dancing seems to burst out of nowhere for no particular reason. It’s questionable whether such manic movement is necessary, both for these particular characters and in such a small venue. Brilliantly talented Paul W. Thompson works wonders with his cast through his excellent musical direction; and exceptional backstage accompaniment is provided by Annabelle Revak, both on piano and as the show’s conductor.

This new musical has its heart in the right place and it offers audiences an abundance of information about the 1893 Columbian Exposition. It gives us flesh-and-blood embodiments of such familiar historical names as Burnham, Sullivan, Palmer, and others. But June Finfer and Elizabeth Doyle might want to rethink their vision. In telling this mostly forgotten story about Chicago’s past, we only get a glimmer of some very important contemporary ideas inherent in this tale. It would be more appropriate to anchor the message of their musical in today’s world. We’re still struggling against racism and prejudice, with equality for the sexes and the acceptance of people from other cultures and backgrounds. This musical would be stronger and have more impact if, instead, it told the story of Chicago’s World’s Fair through the eyes of its secondary characters. As it now plays, we merely have an historical pageant that just dabbles in a few very important matters, without actually pursuing them.

Somewhat Recommended

Reviewed by Colin Douglas       

 

Presented June 2-July 1 by Lost and Found Productions at Theater Wit, 1229 N. Belmont Ave., Chicago.

Tickets are available at the Theater Wit box office, by calling 773-975-8150 or by going to www.theaterwit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com