A LEGEND IN THE LIMELIGHT
Patti LuPone’s Enchanting Evening
at the Dorothy Chandler Pavilion
“Music holds a transformative power, the ability to encapsulate a moment in crystalline clarity,” proclaimed a visibly moved Patti LuPone, moments after her arrival on stage for her international tour stop at the Dorothy Chandler Pavilion to a resounding welcome, setting the stage for what would be the first of several thundering ovations. “This is the chronicle of my life through music—thus far.”
Who better than LuPone, a paragon of the Broadway stage, to elucidate the singular capability of music to distill the essence of a performer, a composition, or indeed, an entire genre? In her approximately 100-minute performance last Saturday, the septuagenarian luminary demonstrated yet again her undiminished prowess in captivating an audience with each note sung.
Her new show, dubbed A Life in Notes, is wittily described as a musical memoir. “I penned a memoir 15 years ago, yet the journey continues, and with it, more stories unfold,” LuPone quipped, her show sprinkled with such brisk, humorous interjections.
This allowance to traverse the breadth of her storied career lends LuPone the latitude to delve beyond her well-known theatrical triumphs in landmark productions such as Evita and Les Misérables, along with her influence into television and film, showcasing a more diverse portrait of her artistry.
The evening possessed the intimate allure typical of a New York City night—akin to an engagement at Café Carlyle or Joe’s Pub—where one might expect to engage closely with a legend of the stage. It was a testament to LuPone’s dynamic presence and unparalleled talent that the cavernous hall felt as inviting and personal as it did.
Accompanied by Joseph Thalken, her arranger-pianist-musical director positioned at a grand Steinway adorned with a vase of blood-red roses (superb), and Brad Phillips, a multi-instrumentalist alternating between acoustic guitar, mandolin and violin (spellbinding), LuPone embarked on a musical voyage through her formative years, merging a myriad of songs from Rosemary Clooney to the Shangri-Las.
Initially, the performance felt almost frenetic as LuPone covered the expanse of the stage with the same rapidity as her spoken words. However, the evening eventually found its tempo, particularly as she took center stage, her renditions of lesser-known pieces and beloved standards alike resonating with profound emotional depth.
Identifying foremost as “an actor who sings,” the Juilliard-trained mezzo-soprano immersed herself completely in her performances, transforming with subtle gestures and the sheer power of her voice into various personas—each with their own stories and emotional landscapes.
A poignant highlight was her tender rendition of the 1950s standard “Lilac Wine,” which she introduced with a touch of humor about its origins in her youth. The second act continued to deliver what the audience most anticipated: LuPone’s powerhouse interpretations of Broadway classics, notably including her iconic renditions of “Don’t Cry for Me Argentina,” “I Dreamed a Dream” and “The Ladies Who Lunch”. Her performances, minimal yet powerful against a dynamically lit stage, showcased an extraordinary masterclass in vocal performance, culminating in a display of dramatic prowess and vocal agility that proved that at 75, Patti LuPone is still the reigning queen of Broadway musical theatre.
photos of recent performance in Boston by Robert Torres/Celebrity Series of Boston
poster photo by Douglas Friedman
Patti LuPone A Life in Notes
reviewed April 20, 2024 at the Dorothy Chandler Pavillion in Los Angeles
for more tour dates and cities, visit La LuPone
