Alene Robertson comes as close as anyone to fitting the role of the grand dame of the suburban musical theater.
Since her arrival in the Chicago area in the 1970s, Robertson has played just about every lead role in the revival cannon (often several times). A specialist in the kinds of big and brassy roles first performed on Broadway by the likes of Ethel Merman or Carol Channning, Robertson has done Chicago versions of Dolly in “Hello, Dolly!,” Mrs. Lovett in “Sweeney Todd,” and the Reverend Mother in “Nunsense.”
This week she has returned to one of her favorites–the pushy stage mother in the Broadway classic “Gypsy,” currently playing at Marriott’s Lincolnshire Theatre.
“I played Mama Rose for the first time back in 1983,” Robertson says. ” `Gypsy’ has one of the best scripts and scores ever written for the theater. And the part is such a showcase for an actress.”
Born in Cincinnati and a longtime resident of Naperville, Robertson has been performing for more than 35 years (although discussions of precise chronology are not welcome). After leaving Ohio and a bad marriage, Robertson’s first appearances in this area were at the Riverwalk Theatre in Aurora during the 1970s. She was soon spotted by Bull Pullinsi, artistic director of the late Candlelight Dinner Playhouse. From there she became a regular at all of the major musical theater houses in the area.
Robertson’s biggest break came when she starred in “Annie Warbucks” at the Marriott, a much maligned sequel to the perennial cash cow “Annie.” Even though the new show was not well received when it moved to New York, it nonetheless introduced Robertson to producers and directors outside the Midwest. She parlayed that reputation into a small role in the current national tour of the more bankable “Annie,” now starring Sally Struthers (Robertson took a leave of absence from the road in order to do “Gypsy”).
The harsh reality, of course, is that the Chicago musical theater cannot create and maintain national stars. For that you need a recording contact, extensive Broadway credits, film gigs and a New York or Los Angeles address. For all her regional fame among theatergoers, Robertson is still largely unknown outside this area. And to many in the business, it seems strange that such a talent has never take off permanently for the coasts, where the opportunities for mature talent are greater.
“In New York I felt like I was in a rat race as soon as I opened the door to my apartment,” says Robertson. “I would rather have a normal life in Naperville with my family. I’m comfortable here.”
But even for a theatrical diva who works frequently, it’s not easy to survive with a Midwestern base.
“Even after all this time, it’s still a struggle,” says Robertson. “If you don’t work for a couple of months, all of your money goes. . . . I wish I were famous. I think.”
