Old Cole Porter knew what he was talking about. Many of you immediately identify the line with Porter’s 1948 masterpiece Kiss Me Kate. The song is sung to open the second act, and the cast is complaining about the heat in the theatre and the alley behind Baltimore’s Ford’s Theatre.

Ford Theatres were a chain, and yes, Baltimore had one. Many of my gentle readers are current or former residents of Baltimore (Charm City), myself included, and know that Baltimore in July can make you sweat in places…well, let’s leave that alone. Imagine sitting in an un-air-conditioned theatre in July. You can’t convince me that the long, long running Phantom of the Opera is really more entertaining than Showboat, but when Showboat opened in 1927, theatres lacked air conditioning. No matter how wonderful shows were at the time, they rarely ran longer than a season.

But now, that old sweat-producer, Baltimore, is back on the silver screen, with Hairspray. Due to our deadlines, I haven’t seen it yet, but I’m more than familiar with the Broadway version—and what an oddity it is. In this age of "movie-to-Broadway" mentality when even Legally Blonde seems to be doing legitimate business, it’s difficult to wrap my brain around the palindromic "movie-to-Broadway-to-movie" nature of this particular beast.

While I was a student at the Graduate Musical Theatre Writing department at NYU, Marc Shaiman and Scott Wittman came to the theatre to discuss the success of Hairspray, their musical version of John Waters’ film. Hosting the discussion was my Producing teacher, Baltimore’s own Margo Lion, producer of Broadway’s Hairspray. Before her current triumph Margo had been known to hock the art on her walls to get a show on the boards.

I don’t think she’ll ever have to do that again.

Marc and Scott were the first couple ever to win a Tony for best score. They’ve even written some new songs for the film, which they had to do to be considered for an Oscar.

Marc has been nominated for his fair share of Oscars, though, to my knowledge, he’s never won. For those of you unaware of Mr. Shaiman’s career in Hollywood, he wrote scores for the likes of Sleepless in Seattle, Addams Family, City Slickers, Misery, Patch Adams, Sister Act, South Park, and When Harry Met Sally. Plus, he has written most of the material for the Academy Awards broadcasts over the past 15 years.

And Margo has kept the show afloat by having some creative casting replacements over the past few years. Wilbur Turnblad (Christopher Walken in the film) is now being assayed by Jerry Mathers, the Beaver himself, and Darlene Love is appearing as Motormouth.

I should refrain from comment regarding the casting of John Travolta. He breaks what could have been a trio of inspired drag performers in the role of Edna Turnblad. Divine, Harvey Fierstein, and…John Travolta? One of these things doesn’t belong…or does it?

One more addition to the Baltimore-Broadway connection: For those of you who just saw Clear Space Productions presentation of Thoroughly Modern Millie you may enjoy

knowing that Britt Shubow ("Millie") is from Baltimore as well. According to her father, as far as he can tell, she is the first female Broadway actress to come from Baltimore.

Anyone want to dispute his claim and name another actress from Charm City that has played Broadway?

Here’s what’s coming up locally

Murray Archibald’s marvelous Still Life (in Motion) exhibit closes at CAMP Rehoboth on July 31st, so you still have a few days to head to Baltimore Ave. and view the work of one of our local treasures.

The Henlopen Theatre Project will present the Venice Little Theatre’s production of Always...Patsy Cline August 10-11 at the Little Theatre of Cape Henlopen High School and August 13-14 at the Rehoboth Beach Convention Center. HTP, which presented the show six years ago, has brought the show back by popular request. Tickets are $35/$55 and can be reserved by calling 302-226-4103. Just in case you were wondering,

Christopher Peterson isn’t starring, even though he does Patsy better than Patsy!

Speaking of Christopher, if you’ve seen the Eyecons posters, you’re aware that this is his final season here. Get thee to the Atlantic Sands and see this remarkable performer while he’s still in walking/bicycling/driving distance, unless you just need an excuse to go to Key West!

Coastal Frameshop and Gallery (on Route 1 next to Leather Central) has an opening reception on Saturday, July 28 from 3 to 6 p.m. They will be featuring an installation and exhibition of papier mache and mixed media works by Scott S. Hunter entitled

AQUANAUTS. I’ve seen some of Scott’s work and it’s really worth seeing. Before you buy your next tube of lube or the platinum nipple clamps next door, drop by and say "hi" to Don and Lee and have a glance.

The Dane Tilghman show at the Philip Morton Gallery (between the Blue Moon and Aqua on Baltimore Ave.) was a fantastic success. Dane said his show here was his most well-received to date, not to mention his personal favorite. He will return to Rehoboth to do another exhibit during Jazz Fest in October. Currently at PMG through August 10, the work of William (Bill) Dunlop. The work exhibited was created in 2007 and has not been shown previously. "Abstract in nature and minimalist in tone, Dunlop’s paintings utilize ordinary geometric shapes and expressive mark-making to fuse the non-objective and design disciplines." Bill is a graduate of the Corcoran College of Art + Design in Washington, DC (B.F.A., 1977) and lived in the DC area for over twenty years. He began vacationing in Rehoboth in 1976 and maintains a studio here. Stop by the gallery and tell Eric that Doug sent you, then buy a cocktail at one of the many fine establishments on Baltimore Avenue.

There’s that pesky Baltimore connection again!