Review: 42nd Street (Marriott Theatre)

  
  

Shuffle off to Buffalo Lincolnshire

  
  

Drew Humphrey as Billy Lawlor with Ensemble

  
Marriott Theatre presents
  
42nd Street
     
Book by Michael Stewart and Mark Bramble
Music by Harry Warren; Lyrics by Al Dubin 
Directed by Rachel Rockwell
at Marriott Theatre, Lincolnshire (map)
through May 29  |  tickets: $40-$48  |  more info

Reviewed by Lawrence Bommer

We can’t, it seems, get enough of The Understudy Who Becomes A Star, especially when the hokey, sappy and satisfying story is stuffed with thrills like "Lullaby of Broadway" and "Young and Healthy." Some clichés justify themselves, if only because nothing less than hokey can fill the sentiment completely.

Kaitlyn Davidson as Peggy SawyerWhen Busby Berkeley‘s 1933 film classic "42nd Street" (with its superb score by Harry Warren and Al Dubin) became in 1980 a successful, Tony-winning musical, the last offering from the great Gower Champion, it proved you don’t need a Depression to justify a good time (though the number "We’re in the Money" sounds more like wishful thinking than ever).

Almost 80 years later, Peggy Sawyer, the tap-dancing chorus girl from Allentown who makes it big on the Great White Way, replays her all-American success story in Marriott Lincolnshire Theatre’s electric revival. Rachel Rockwell’s staging provides, as if needed, more proof that an arena staging can hold its own with a proscenium one for sheer moxie, showbiz savvy and pure pizzazz. (It helps to have a revolving stage to imitate the motions of Busby Berkeley’s overhead cameras.)

Peppy, perky, breezy and campy in the cutest way, the musical also preserves the film’s hungry edge and desperate-to-please energy. The big change is to downplay the chirpy Ruby Keeler-William Powell romance between plucky chorus girl and smiling juvenile and to play up (to please original producer David Merrick) Peggy’s fixation on her hard-boiled, devilishly driven director Julian Marsh. It gets in the way of the show’s chief interest–how Peggy can overcome her shyness, discover her undeniable talent and sell it–and the show ”Pretty Lady”–to the world.

The tribute to the "glittering gulch" of Times Square is as fine a hymn to showbiz solidarity and team spirit as A Chorus Line, 42nd Street glows with solid showmanship in Rockwell’s knowing, loving revival. If the arena production lacks Robin Wagner’s showy sets from the Broadway production (most notably in the mirrored "Shadow Waltz," here clumsily done with silhouettes on a screen, and the awesome Broad Street terminal where "Lullaby" gets hoofed out), Tammy Mader’s pulse-pounding choreography supplies its own heart-stopping spectacle.

     
Tom Galantich as Julian Marsh Drew Humphrey as Billy, Kaitlyn Davidson as Peggy
Drew Humphrey as Billy Lawlor with Ensemble 2 Roger Mueller as Abner, Catherine Lord as Dorothy

The opening tap dance rouser is enough to bring down the house but the house continued to tumble with the Ziegfeld spectacle of "Dames," the chaotic precision of "Getting Out of Town," the marquee-bright splendor of the title song and the vaudeville hijinks of "Shuffle Off to Buffalo" (complete with tiny sleeping cars that revealed chorus girls in salacious lingerie). The chorus boys and girls are worth their weight in Kruggerands.

Carrying the show as no understudy ever could is Kaitlyn Davidson, a platinum-blond Peggy Sawyer whose inexhaustible tap dancing and lyrical assurance can only improve on Ruby Keeler’s wooden original. Drew Humphrey, as her adoring but muted Billy, smilingly exploits what’s left of a role that was virtually handed over to Julian. Tom Galantich plays him with the right mix of messianic rigor and paternal regard, but Julian remains a character who seems warmer on the page than he ever is in life.

Making up for Thomas Ryan’s clever but minimal set pieces (some perhaps dating back to Marriott’s first production in 1993) are Nancy Missimi‘s time-travelling costumes, Depression elegant in their flouncy escapism.

  
      
Rating: ★★★½
  
   

Cast of 42nd Street - Marriott Theatre

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REVIEW: Dreamgirls (Broadway in Chicago)

Talented Cast Shimmers and Shines

 

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Broadway in Chicago presents:

 

Dreamgirls

 

Book and Lyrics by Tom Eyen
Music by
Henry Krieger
Directed and Choreographed by
Robert Longbottom
thru January 31st (ticket info)

By Keith Ecker 

dreamgirls4 If there is one thing the stage production of Dreamgirls will always have over the film, it is the sequins. Video cannot convey the absolute beauty of the costumes that adorn the actresses, costumes that appear just as glittery as Bob Mackie’s most flamboyant creations. William Ivey Long gets a hat tip for costume design, which comes as no surprise considering the man is a veteran of Broadway. He’s won five of the 11 Tony nominations he’s received and is an inductee in the Theatre Hall of Fame, a hall that I am sure is just as glamorous as Long’s aesthetic sensibility.

Of course, Dreamgirls is more than just elegant gowns and flared pants—it’s about the singing. And this show, produced by Broadway in Chicago at the Cadillac Palace Theatre, definitely delivers. These actors can wail. From guttural growls that convey the rawest of emotions to controlled, sustained tones that capture the world-weariness of the characters, the Dreamgirls cast sports an impressive set of pipes.

The play is a fictional tale based on the true tribulations of such early R&B acts as the Supremes. At the opening, three female singers from Chicago, known as the Dreamettes, hope to get their big break at the legendary Apollo Theater in New York. Effie (Moya Angela) is the full-figured lead with an Aretha Franklin-like strength to her voice. Her friends Deena (Syesha Mercado) and Lorrell (Adrienne Warren) serve as her back up. Effie’s brother C.C. (Trevon Davis) writes all their music. The group doesn’t make the cut at the Apollo, but thanks to their newfound manager, Curtis (Chaz Lamar Shepherd), they get a 10-week touring gig backing up-and-comer Jimmy Early (Chester Gregory). Effie doesn’t take well to the idea of being second banana, but she goes along for the good of the group.

Curtis eventually spins the Dreamettes off into their own act, now known as the “Dreams”. Despite having a romantic relationship with Effie, he bumps her from lead for the more camera-friendly Deena, who Curtis then begins courting. Becoming increasingly agitated and unpredictable, Effie is replaced, leading to the musical’s famous torch song “And I’m Telling You I’m Not Going.”

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The Dreams wrestle with fame, Curtis continues his greed-induced destructive path and Effie must find herself after being forced to realize she is not the center of the universe. And did I mention the sequins?

Angela as Effie is brilliant. Her rendition of “And I’m Telling You I’m Not Going” is a showstopper. As she staggers, sways and belts out the tune during the complete and utter breakdown of Effie’s ego, your gut is as wrenched as your ears are pleasured.

Equally impressive is Gregory’s portrayal of Jimmy Early. The role is incredibly demanding, requiring superb vocal control, an impeccable sense of soul, physical endurance and strength and precise comedic timing. Gregory nails it, juggling all these attributes at once. A perfect example of this display of multi-talent takes place during the number “The Rap,” where Jimmy throws off all restraints and reclaims his sense of soul. For those unfamiliar with the play, I’d rather not spoil the scene, but I will say there’s ample dipping.

The set design is minimal, providing an open space for lots of jumping, jiving and sashaying. Most of the set is composed of five very tall video screens, which are used to full effect. At one point, a camera cleverly positioned above the stage displays a Busby Berkeley-style chorus number as if the performers were a cluster of synchronized swimmers.

There were a few sound issues. During the first act, mics were set too low and sometimes cut out. There was also a technical gaff during the reprise of “Cadillac Car.” But such issues aren’t likely to recur.

Beautiful both visually and aurally, Broadway in Chicago’s production of Dreamgirls is sure to please both the casual theatergoer and the diehard musical fanatic.

Rating: ★★★★

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