Kurt Peterson
Proud Ladies
Merkin Hall at kaufman Music Center, NYC, October 10, 2022
Reviewed by Bart Greenberg
In Proud Ladies, identified as a memoir concert, theater veteran Kurt Peterson look back on his life in show business by talking about the amazing ladies with whom he had shared the stage— and occasionally his bed. This hybrid production, part cabaret and part theater, performed at Merkin Hall at Kaufman Music Center and directed by Lisa Asher, was an excellent and entertaining account of musical theater at the end its golden age. With a generous display of illuminating projections (designed by Jason Lee Courson) that spotlighted the various people involved in the tales, Peterson held the stage (almost) alone for nearly two hours.
Kicking off the program with a song he introduced in The Baker’s Wife—“Serenade” (Stephen Schwartz)—he paid tribute musically to those women by facing the screen as their faces were projected. Explaining that “time is a liar, so my stories are not chronological,” he began his story with Victoria Mallory, his dearest friend, saying “she was my music.” Peterson then proved himself a gifted storyteller as he introduced the audience to Dina Merrill (who had provided him with a scholarship), Paige O’Hara (from whom he learned patience), and Faith Prince (from whom he learned not to be an indiscriminate flirt). These tales were accompanied by his performance of such appropriate songs as “A Room with a View” (Noël Coward), “The Glamorous Life” (Stephen Sondheim), and two songs—“Small Town” and “I’m Free”—that Robert Haber and Hal Hackaday had written for Alias Jimmy Valentine, in which Peterson had played the title role. The story of an unlikely friendship with Katharine Hepburn led to a passionate delivery of “Children Will Listen” (Sondheim).
Perhaps Peterson is most associated by many with his role as Young Ben in Follies (he has played mature Ben on several occasions as well). Showing some gender equality, he also paid tribute to some of the men he encountered professionally, such as John McMartin, and he even donned the latter’s jacket from the original production of Follies at the appropriate point. From his time in Follies, he told stories about Dorothy Collins, whom he adored for her discovering joy in what she loved to do, which led to a powerful version of “Losing My Mind” (Sondheim). He also referenced Alexis Smith, whom he was a bit cooler about; Ethel Shutte, who handled her scene stealing partner Fifi D’Orsey with panache; and the eccentric, gun-toting Yvonne DeCarlo whom he had fallen for at eight years old watching The Ten Commandments and who had made certain childhood fantasies come true as an adult.
He proceeded through the evening with wonderful quick snapshots of Patricia Elliot, Nancy Walker, Rebecca Luker, and Angela Lansbury, among others. And he sang wonderfully delivered selections such “The Song Is You” (Oscar Hammerstein/Jerome Kern), “Every Tomorrow Morning” (Jerry Herman), “Sail Away” (Coward), and “Who Hid the Halibut on the Poop Deck” *Yogi Yorhesson). He also spoke honestly of his battle with drugs that sidetracked his career for a while as well as the great support he received from then girlfriend and now great friend Carol Demas. And, oh yes, there were some tales of one-time co-star Patti LuPone.
Under the guidance of director Asher, Peterson gave a seamless performance, moving comfortably around the very wide Merkin Hall stage, with Joshua Bergasse providing appropriate musical staging. Throughout the evening, Ian Herman offered excellent support in his role as music director; he even offered a tasty entr’acte entitled “2 Fast,” which lived up to its name. Mention must be made of the guest stars who appeared only audibly: a briefly present Phillip Boykin as God, and the hysterical Christine Pedi as a reoccurring, insanely demanding Ethel Merman. But it was Peterson’s memories and voice that dominated the evening and left the audience wanting for more.
