Jack Lemmon: Tribute

THEATER 60
-summer 2001I knew i'd be returning to the Naples Dinner Theater for another show, but there was time for one final Orpheus Players production. When the Mallous family melodrama had resulted in one of our shows being shown the curb, i knew it was time to go...to a home where i could do the edgier material i was building toward. I found a beautiful way to go out. Earlier in my life, when asked who my favorite actors were, i'd replied that i had no time for heroes or role models. But as i mellowed, i decided that if i ever had (like, at gunpoint) to switch lives with another actor, it would be Jack Lemmon. After his recent death, i decided to stage a tribute, performing scenes from his movies. With scheduling conflicts (mine included), we only had time for one weekend of shows, but that was fine. We played three venues. Opening night was a benefit for beach youth in conjunction with a new arts foundation, at the Red Coconut RV Park rec center. Saturday would be the Orpheus. Sunday would be the outdoor stage of the Rustic Cafe coffeehouse (the owners were sweet people, and it was nice to give them free publicity and business). I made calls and held auditions, sharing directing duties with Donna once more. After a couple shows off, Shane returned as stage manager, which filled me with happiness. He was part of seven Orpheus productions, and the only other person to be there at the beginning and end. Our first scene was from TRIBUTE, perhaps my favorite Jack film. I directed. Joe Porter played Jack's Scotty, thrilled to finally act with me. I played his introvert son Judd. Our third actor was Sarah List, an acquaintance who hadn't acted in years. She played Sally, the girl Scotty sets me up with. She was a delight, and, as it turned out, in the early stages of pregnancy. It was fun to show off a picture of us onstage, saying "That's a pregnant girl I'm kissin'." She and i share a rained-out picnic...her best moment, because of the rehearsal crack-ups that surrounded it, was when she wanted my pickle. Then Joe and i share a scene of failed connection. He goes out, and returns in a chicken suit. So funny and poignant; acting with him was sweet wonderfulness. I called my old buddy Jim Prosser in Sarasota to do new recordings of some of the movie music, and he sent back amazing stuff. Our second scene was from THE ODD COUPLE. Having already played both Felix and Oscar, i was happy to give the parts to others. Jim Hawley and Will Graves (our two Bobs from SEXUAL PERVERSITY) played Oscar and Felix. Donna directed, with assistance from me. They did nice work. Our third scene was from MISTER ROBERTS. I directed and played Pulver, the Lemmon role. Will played Doc, and Tom Corcoran, my buddy from PLAY ON!, played Roberts. I was so glad to finally get him involved, and his easygoing manner and stage presence were a delight. I was able to collect superb naval uniforms, with authentic insignia. The chemistry was wonderful, and i was very proud. Will and Derek Redd were still housemates, and a touch of sentimental perfection came about when i got Derek to record the voice of the radio announcer. Our fourth scene was from DAYS OF WINE AND ROSES. Will and Donna were Joe and Kirstie. They did the pier scene. I wanted us to do the motel scene where Joe refuses to drink with her. The pier scene was pleasant but forgettable, i thought. I knew i was right, but relented when Donna pulled the "look, if I'm gonna act in it…" card. I had thought of playing Joe, but with the scene choice, i happily gave the part to Will. I directed, and it was okay, but after the production was over, Donna admitted my scene would have been the better choice. The fifth scene was from GRUMPY OLD MEN. John Thomas played John, and newcomer Sharon Renna played the Ann-Margret part, in the scene where John reveals he hasn't had sex since the 70s. They captured the sweetness, and were just as delightful offstage. Our final scene was from SOME LIKE IT HOT. We played the party scene in Jack's bunk on the train, spliced with Osgood propositioning Jack. I played "Daphne", and Joe played Osgood. In heels, makeup, and a blonde curly wig, i was too sexy for my dress. As Sugar, we had newcomer Dana Winchell, a professional Marilyn impersonator. She was fantastic, and even embodied some of Marilyn's lost qualities offstage. The other party girls were Donna, Sharon, and Sarah. We were all together in a rollaway bed at the end of the scene. Rehearsing it was a gigglefest, particularly with Sarah's party prop, a foot-long salami. We rehearsed at different homes, then had tech week at the Red Coconut. A wonderful photojournalist named Saul Taffet did a shot of the cast standing on a ladder in our many costumes, for the cover of the Beach Bulletin. Dana was late, and missed the shoot. She was upset, and i said something like "that's what can happen when you're late". She was hurt, and vowed to finish her commitment, then never speak to me again. I tried to point out that, unlike some other cast members, our show had already given her coverage in the upcoming issue of Gulfshore Life magazine, which had a circulation all over Florida. She wouldn't be mollified. I was sad, because she had been starting to open up to me (yes, i was drawn to her, another wounded one). The first night went off wonderfully. The funniest moment came during the invocation. We hadn't been apprised that there would be a minister providing a pre-show blessing. Jim and Joe and i were backstage when the cleric started to drone on and on listing his "thank-yous". Joe, in Dodge's voice, finally whispered "my rough rasp, my lathe…", and a few more pieces of the unending "list" monologue he'd done in BURIED CHILD. The three of us were able to successfully muffle our laughter (i hope). It was a delightfully irreverent side of Joe that i hadn't seen before. The Orpheus night went off beautifully. On our final night, Dana had a previous commitment, so we'd prepped Sharon for Sugar's part. The inimitable Carrie Hill from BURIED CHILD took over as third party girl. The Rustic stage was about a third as large as the Coconut - it was a delightful challenge making the show work, and a wonderful cap to a great run. My mom had been able to locate a cd of Jack performing blues piano numbers (i'd remembered it but hadn't been able to find it), so we had Jack himself singing and playing some of our between-scene songs. I wrote a thank you to him in the program, and suspect he would have been proud of the love and laughter that surrounded us. I didn't make a big deal of it being my last Orpheus show, or even a little deal - i didn't tell anyone until a week later. Tony told me he had originally thought we might last for a show or two. In fourteen months i produced nine shows, directing and acting in eight.