(Production photo by Sarah Kozma)

by Tim Leininger

SHARON, CT — Those dancing feet are heating up the stage at Sharon Playhouse in their new and electric production of 42^nd Street, with music by Harry Warren, lyrics by Al Dubin, book by Michael Stewart and Mark Bramble, directed by Carl Andress, and choreographed by Amy Van Norstrand, running through Aug. 9 at the playhouse at 49 Amenia Road.

            Based on the novel by Bradford Ropes and film of the same name, 42^nd Street is a throwback musical of 1930s — which happens to be when the original book and film were released. The stage musical wasn’t produced for the first time until 1980. It follows Peggy Sawyer (Gabi Stapula), a young, green, but talented, hoofer from Allentown, Pennsylvania who has just arrived in New York City looking for an opportunity to make it onto a Broadway stage. Through a series of fortuitous encounters, she is cast as a chorus girl/dancer in a new musical by acclaimed director Julian Marsh (Michael F. McGuirk) called Pretty Lady. She quickly draws the ire of the show’s lead, Dorothy Brock (Savannah Stevenson), who can’t dance, but has been cast in the role because she is dating a willing financier for the show in Abner Dillon (Payton Turpin). Along the way, Peggy makes friends with the other ensemble dancers and meets a potential paramour in Pretty Lady’s leading man Billy Lawlor (Ian Black).

(Production photo by Sarah Kozma)

            It’s big Broadway fantasy at its finest with mammoth dance numbers that test the endurance and abilities of the ensemble. Van Norstrand’s choreography, fusing her own moves with Gower Champion’s original choreography, is some of the best hot footed dancing you’ll see in Connecticut. The number, “Go Into Your Dance,” is the fastest I’ve ever seen it performed, and may have been too fast, as two different ladies flubbed moves. I don’t contribute the missteps to Van Norstrand. If this was a problem previously, it would have been changed. I attribute it to either opening night jitters by the performers, or Music Director Eric Thomas Johnson taking the tempo a little too fast. This seemed to be a singular issue with the song, as the cast appeared to stick their moves the rest of the show.

            As a whole, the ensemble was excellent, despite the couple dance errors. The collection of chorus dancers had minor slights at worst, with some hamming it up a touch too much with what my first dance teacher used to call “turning your light on.” There is a point where it turns from being alive on stage to being a caricature, and a couple ensemble members danced around that line to the point that it was noticeable.

(Production photo by Sarah Kozma)

            Stevenson was devilishly delightful as the arrogant Dorothy Brock, but moved too well for a character that was described as having zero dancing skills. During the “You’re Getting To Be A Habit With Me” number, she was a bit too polished and I would have liked to have seen her be a bit more awkward, and when the finale of act one happens — the crucial moment of the musical — the incident that happens looked too much like Peggy’s fault and not enough Dorothy’s.

            Stapula’s dancing is phenomenal. Some of the best I’ve seen on a Connecticut stage. Her vocals are fantastic. She captures the wide-eyed wonder of Peggy, but I would have liked to have seen a bit more romantic attachment to Billy. I felt more sexual tension between her and Julian Marsh in the “Lullaby of Broadway” number, which should have a more paternalistic quality.

(Production photo by Sarah Kozma)

            Rudd Anderson and Amy Wilson are hilarious as the beleaguered songwriters for Pretty Lady, Bert Barry and Maggie Jones.

            The standout performances, though, were Michelle Lemon as “Anytime” Ann Reilly and Robert Mintz as Pretty Lady choreographer Andy Lee. Both are stellar. The opening “Audition,” was performed immaculately smooth and authoritative as Mintz leads the ensemble of dancers. Throughout the rest of the show, the two never steal a scene, but their place and authority as actors is felt throughout.

(Production photo by Sarah Kozma)

            Kathleen DeAngelis’ costumes were bright, colorful, sensual, but not oversexualized. Wheeler Moon’s lighting design was striking within the confines of some of the limitations Sharon Playhouse has regarding follow spots. The framing was sometimes muddled when there was only one spotlight, but three dancers, and two of them were oddly cut by the lighting. Brothers Christopher and Justin Swader made some great art deco style sets, but I wish that some of the larger set pieces had a way of getting on stage in a timelier manner. A couple of scene changes moved a little slow as the dressing room pieces had to maneuver through the stage right wings onto the stage.

            The errors found in this production of 42^nd Street though, are relatively minor. Annoyances that got in the way of making a great show excellent. Hopefully, many of these are things that can be tidied up through the run. Still, this is a great production of 42^nd Street. The numbers are fantastic, the ensemble is great. The choreography is amazing. Sharon Playhouse’s production of 42^nd Street is show that people will enjoy and have a great time seeing.

TICKETS: https://www.sharonplayhouse.org/

PRODUCTION

Music by Harry Warren; Lyrics by Al Dubin; Book by Michael Stewart & Mark Bramble; Based on the Novel by Bradford Ropes and the motion picture 42nd Street owned by Turner Entertainment Co. and distributed by Warner Bros; Original Direction and Dances by Gower Champion; Originally Produced on Broadway by David Merrick; Associate Producer Ed Herrington, Inc.; Directed by Carl Andress; Music Direction by Eric Thomas Johnson; Choreography by Amy Van Norstrand; Scenic Design: Christopher Swader, Justin Swader; Costume Design: Kathleen DeAngelus; Lighting Design: Wheeler Moon; Sound Design: Graham Stone; Wig & Makeup Design: Bobbie Zlotnik; Technical Director: Meredith Yoho; Production Manager: Perseis J. Grant; Audio Engineer: Madeleine Carroll; Casting Director: Judy Bowman, CSA; Production Stage Manager: Kristine Schlachter; Assistant Stage Manager: Amelia Heastings

CAST (in order of appearance)

Robert Mintz as Andy Lee

Amy Wilson as Maggie Jones

Rudd Anderson as Bert Barry

Alex Wilbur as Mac

Liesl Landegger as Phyllis Dale

Liana Nicole Monaco as Lorraine Fleming

Lily Anderson as Diane Lorimer

Sasha Spitz as Ethel

Savannah Wright as Gladys

Michelle Lemon as Ann Reilly

Ian Black as Billy Lawlor

Gabi Stapula as Peggy Sawyer

Michael F. McGuirk as Julian Marsh

Savannah Stevenson as Dorothy Brock

Payton Turpin as Abner Dillon

Landon Zwick as Pat Denning

Larry Toyter as Waiter/Doctor

Isaiah Mayhew as Thug

Ensemble: Lily Anderson, Nathan Ayotte, Jack Canevari, Liesl Landeggar, Isaiah Mayhew, Liana Nicole Monaco, Sasha Spitz, Larry Toyter, Savannah Wright, Landon Zwick

Teen Ensemble: Andy Delgado, Caitlyn Kops, Liam Reynolds, Christian Sciarrillo, Mia Tonon, Brianna Vivace, Alex Wilbur