review - Peter Mac as Katharine Hepburn at the Gardenia

CRITIC'S PICK

A devoted fan of Charles Pierce and his unforgettable Katie Hepburn illusion, I'm forever curious as to what new artists will do with this icon and her astonishing career and life  - will they simply steal from others or really endeavor to put their own creative stamp on it? Peter Mac, who has been wowing audiences as Judy Garland and Liza Minnelli for the past few years, is memorable in his world premiere theatrical piece A Date with Kate. How does his Kate stand out? He does have the quaky voice, shaking head and walk down pat; the wig, turtleneck with over the shoulders red sweater and kaki slacks getup hit the mark, but in the final analysis, what makes it all click? Somehow, someway he is able to create an illusion that is so totally honest that after five minutes, you swear you are in the company of dear Kate. Mac goes for genuine integrity and telling the stories as frankly as Kate herself told them in her autobiography Me, Stories of My Life, and it is this truth and his versatile and inimitable acting talent that win us over. Funny, yes! Heartbreaking, yes! This is not a campy impersonation, but the real thing... as Hepburn herself once said, "I'm absolutely fascinating!" - and we are no less than completely convinced via the magic of Peter Mac.

Mac is obviously a fan of Hepburn as well, for his material is meticulously researched and put together. He tells of her parents in Hartford, Connecticut, the heartfelt loss of her brother Tom - so sad at the tender age of 14 - and her uncanny ability to catburglarize Connecticut homes without getting caught. Our Katie was not without her demons, and Mac never let's us forget that fact. She was far from perfect. Of course, there are stories about her films and the standard joke lines to accompany them - for example, The Lion in Winter: "Rock Hudson called it Pussy in Summer." But it is her long segment to honor Spencer Tracy's memory that is the most affecting. She could never figure out why he loved her so terribly much, and it is Mac who is the first to point out the similarity between brother Tom's needs and Spencer's to make us realize how her attraction to weakness caused so much of her deeply concealed sadness. Songs are interspersed throughout the 65 minute gig, which, as Hepburn, Mac sings beautifully. It is easy to see that he, indeed, has a voice, unlike Hepburn, and why his singing impressions of Garland, Minnelli and others are so successful. He opens by stating that he hates musicals, sings about it, and with characteristic quaint Hepburn humor, dismisses it by saying he hates the song he's singing even more. Of course, there's a whole segment devoted to Hepburn's one Broadway musical Coco ( critics were unanimous that Hepburn's singing was painful; one commented: "I still prefer ovaltine!") There's also a delightful story about living next door to Stephen Sondheim and the cacophony emanating from his brownstone that Hepburn simply refused to endure. Mac ends the piece with a tremendously reflective "Glory of Love" from Guess Who's Coming to Dinner? and with the Hepburn mantra, straight out of GB Shaw "Listen to the song of life!"

Mac is intelligent, fiercely funny and, like Hepburn herself, commands his audience's attention from start to finish. We listen to every syllable. He is a captivating performer whose allure comes from within a deeply resounding well of knowledge and wisdom that are indeed rare for such a young performer. Bryan Miller is the superb musical director who not only accompanies Mac at the piano but also serves as guide/narrator for Hepburn, fielding her questions and backing up her comments with appropriate responses when necessary.
Brava!
5 out of 5 stars 

See him at the Gardenia August 6 again as Hepburn and in September on the 9th and 10th with his show honoring Miss Judy Garland.