Jack Mishler is a volunteer performer any community theater would be proud of. He first set foot on the stage of the Kendall Theatre (what we used to be called) in 1939 at the age of 16. He has performed, on and off, for most of the 68 intervening years. His singing is not operatic- it's the kind of singing that comes out of character and adds another level to the performance. His dancing is controlled, effortless, and sublime. His stage characterizations are so warm, so appealing, that people instantly love him. I've only seen him do recreations of it for auditions and special events, but the sizeable number of people who remember him singing "Once in Love with Amy," from Where's Charley? in 1963, say Jack's performance is head and shoulders above Ray Bolger's.
It's natural and fitting that Jack is playing the role of Morrie in Tuesdays With Morrie. It's a hit for us and it's so satisfying to see the audiences enjoy Jack's performance and share the feeling that with this show, they are seeing a sort of bookend for a lifelong love affair with community theatre.
It helps us tell the story of how The Playhouse changes lives.
That point was brought home in a big way last night as two friends of Jack's from his early days at the Kendall Playhouse paid a surprise visit.
Cloris, Jack, and Eddie Rissien
Cloris Leachman and Eddie Rissien decided, at the last minute, that they just had to see Jack in this show, which he's been telling people will be his last (he's got more in him, trust me).
Cloris got her first kiss from Jack in 1941 in the Kendall Playhouse production of Ah, Wilderness. She went on to become the prolific stage, screen and TV actress who has won an Academy Award, and more Emmy Awards than any other person.
Eddie Rissien became a professional Broadway stage manager, then a successful producer of films and TV. He and Jack grew up in Des Moines, and have remained close for nearly 7 decades.
Here's how it happened:
Cloris calls at 2pm on Thursday; wants to know why people are at lunch at 10am. After much explaining Rod McCullough finally convinces her that it's two hours later here than in California, rather than the opposite. She then spends a lot of time trying to convince Rod that we must make a recording of the show. "There are people out here who can't make it to Des Moines who want to see the show. You have to do it. "
After a long, and mostly vain attempt to convince Cloris that there are issues with copyright, and that although we would try to get permission, we weren't hopeful, she says, "You can do it. Bend some elbows." We're pretty sure that meant, "Twist some arms."
Later in the evening, she calls the box office and orders two tickets for Friday's performance. All day Friday, we wait for word that she is, indeed, coming.
At 7:45 pm, Cloris and Eddie arrive at the side entrance, having been delivered by Cloris' cousin, John Leachman. She appears in a long, beautiful evening gown, wearing one high-heel shoe and a bedroom slipper. Whenever anyone looks at her feet, she says, "I was sure that I packed two shoes!"
I whisk them out of the lobby and to the green room, because I want to surprise the audience with their appearance. Jack has already gone upstairs to his offstage perch, where he quietly contemplates the upcoming performance. Susie Gulbranson, the stage manager retrieves him, and what ensues is a reunion so full of emotion that it is overwhelming to everyone, even a cynic like me.
Cloris asks if anyone has lipstick or gloss. Props person Shelley Graber obliges with both.
It's time to go upstairs, and separating everyone is not unlike Howard Morris clinging to Sid Caesar's leg in "Your Show of Shows."
At curtain time, I tell the sold-out audience how great it is to have a legacy like ours and then surprise them by introducing Cloris and Eddie. They respond with a sustained standing ovation, fueled partly by awe with celebrity, but also because it is so touching that the two of them would fly out to see their old friend.
Cloris wows them with a couple of stories, shows off her mis-matched feet, and then she and Eddie are helped to their seats. Knowing that she is being watched all the way, she "mistakenly" sits in the lap of Mark Pullen, which gets a huge laugh.
The show is exceptional. Rhonda Lake's solid direction has given us a production we can be proud of. Jack is great - he's gotten better since opening night and the double whammy of emotion, surprisingly, seems to enhance his concentration. The other "whammy" is that his daughter, Sarah, her two daughters and husband have driven up from Austin, Texas just for Jack.
By the way, newcomer Craig Peterson is also superb in the show. When he's been here 68 years, I promise I'll carry on about him, too.
The show gets a standing ovation, as it does every night. Cloris signs autographs for a while and then proceeds, with Eddie and a retinue, to the green room. Lots of hugging, picture taking and well deserved platitudes follow, then Cloris abruptly sits down at our out-of-tune rehearsal piano and does an impromptu concert of Debussy's "Clair de Lune. "
Cloris playing "Clair de Lune"
At Noah's, for after-theatre food, Cloris takes time to chat with students from Roosevelt High School, who are celebrating their sell-out success with Les Miserables. Cloris, Jack and Eddie are all proud graduates of Roosevelt -Cloris has been inducted to the Roosevelt Hall of Fame. At least some of the kids in the restaurant don't know who she is until we mention "Spanglish." Jack Mishler can't stop smiling.
It was another great night at The Playhouse.
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