Celebrity Info
It’s kind of hard to believe, but Alisan Porter’s story really does sound like something out of a classic Shirley Temple movie. When she was just three years old, Alisan was discovered singing in a hotel lobby—talk about a moment that changed everything. Her mom, Laura Klein, who happened to be a dance coach, was there chaperoning the future Coors Light Twins, Diane and Elaine Klimaszewski, during the filming of the TV talent show “Star Search.” Little did anyone know, that chance performance would kickstart Alisan’s journey into the spotlight.
Alisan quickly made her mark, landing several commercials early on. Just two years after that fateful lobby performance, she became the youngest competitor ever on “Star Search”—and not only that, she went on to win the Junior Vocalist title an impressive five times. That kind of success at such a young age set the stage for even bigger things. By 1987, Alisan had transitioned into acting, making her small-screen debut as Li’l Punkin on the beloved children’s series “Pee-wee’s Playhouse.”
From there, Alisan continued building her resume with roles in the Judith Krantz miniseries “I’ll Take Manhattan” and the short film “Homesick.” But it was her big-screen debut in Ron Howard’s 1989 comedy “Parenthood” that truly made people take notice. Playing Taylor Buckman, she delivered a scene so unforgettable—yes, the one where she throws up all over Steve Martin’s character—that it cemented her place in ’80s pop culture.
Fresh off her role as Molly Peerce in the Jackie Mason sitcom “Chicken Soup,” Alisan landed parts in two notable films: John Erman’s heartfelt domestic drama “Stella,” where she played Bette Midler’s daughter, and Lawrence Kasdan’s darkly funny “I Love You to Death,” opposite Kevin Kline and Tracey Ullman. Her performances were strong, her trajectory promising. Then came 1991—a standout year. She earned praise for a guest appearance on “The Golden Girls” and took on the lead role in John Hughes’s charming kid con-artist film “Curly Sue,” which many still remember fondly.
But despite all this momentum, Alisan Porter began to feel burnt out. The constant demands of acting started to wear on her, and she made the bold decision to step away from the industry. Instead, she turned her focus to competitive dancing—a natural fit, given her family background and artistic roots.
By the time she was 18, Alisan had shifted gears again, diving into musical theater. She starred in productions like “Footloose” and “A Chorus Line,” and even appeared in the 2006 filmed version of “The Ten Commandments.” Not one to stay offstage for long, she also fronted two bands—the Raz and later, the Alisan Porter Project—showcasing her enduring passion for music.
In the 2000s, Alisan returned to film with smaller roles in comedies like “Shrink Rap” and “Meet Dave,” proving that while her path wasn’t always straight, her connection to performance never faded. Through every twist and turn, Alisan Porter remained a talented, resilient artist—someone whose journey, though unconventional, has always been deeply authentic.
Well, when it comes to Alisan Porter, her most acclaimed work by far is Curly Sue from 1991—really, it stands out as her highest-rated film. And interestingly enough, even though Alisan Porter has been involved in various projects over the years, Curly Sue (1991) also happens to be the one that, depending on the source or perspective, sometimes receives mixed or lower ratings. So, in a bit of a twist, Alisan Porter’s peak and most discussed performance is tied to the same title: Curly Sue. It’s kind of fascinating how Alisan Porter’s legacy in film circles often revolves around this single, pivotal role.
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