It’s no wonder 42ND STREET won two Tonys (for Best Musical and Best Choreography) in 1980, another for Best Revival on Broadway in 2001 and London’s Olivier Award for Best Musical in 1984 as well. The musical is based on Bradford Ropes’ 1932 Depression-era novel about what goes into developing and rehearsing a new Broadway show, and Hollywood’s 1933 musical film adaptation. Still set in 1933, the 1980 Broadway hit, featuring music by Larry Warren, lyrics by Al Dubin, and a book by Michael Stuart & Mark Bramble, ran for almost nine years (one of Broadway’s longest running shows, at the time) and hasn’t stopped entertaining us mightily ever since!
This perennial audience favorite still has the power to take our breath away with its opening tap-dancing chorus-line extravaganza. A fanfare “first” of its time, it set the stage for many such elaborate tap numbers to follow. While today’s musicals tend to favor modern dance and jazz, it’s still a special pleasure to see extraordinary tap – especially when performed by younger actors like the superb, triple-threat cast of Delray Beach Playhouse who give their all in the theater’s beautifully mounted and exciting production of 42ND STEET, playing now through September 13.
If you’re any sort of regular theater goer, chances are you’ve seen 42nd Street before, maybe many times, including on Broadway. I’ve enjoyed the show several times in the past, especially a few years ago at LPAC, where then artistic director Michael Ursua served as director/music director. Guess what? He’s the fantastic director/music director for this show as well, joined once again by Alex Jorth for top-notch stage choreography. Naturally, I assumed Delray’s show would be excellent … and it was. But I’m also letting you know that despite being aware of what’s happening next in the plot and recognizing all the great songs and some dance numbers, you’ll still come away incredibly impressed and entertained. This is one show that never grows old and a great one for introducing someone new to musical theater. You’ll likely make a grateful convert for life!
Then there’s the special magic of seeing this historic show at the Delray playhouse – a smallish but elegant midsized historic theater – while being seated quite close (wherever you sit, there are great sight lines). And given the fact that only this past year, new Broadway musicals have been especially absent due to funding issues and lackluster attendance (there was hardly any competition for last year’s Tony Awards) we can really relate to the plot and how much chutzpah and indomitable passion it took for director Julian Marsh to attempt his new major Broadway musical, Pretty Lady, bound for 42nd Street’s theatre row, during the height of the Depression, when most everyone was out of work. Julian even threatens his chosen cast, from whom he’ll demand excruciating round-the-clock devotion, that if they aren’t up to the task, they should “quit now and join the bread line around the corner.”
Where are Broadway’s “Julian Marsh”-type producers and directors today? We could certainly use their fervor! At least we’ve managed to import one of their best actors to our local stage. Patrick Ryan Sullivan is the quintessential Julian Marsh on Broadway! Along with having appeared in numerous major Broadway musicals, Delray Beach Playhouse marks his 13th production of 42nd Street. His deep strong voice immediately impresses, and in addition to being flawless, he manages to make his performance of Julian feel as fresh and invigorating as if it’s his debut show.
Sullivan is joined by the outstanding vocals of another Broadway alum, and national tour pro, JB Wing, who’s lately gifted us in South Florida with her presence. It must have been hard for Wing, in her role as Dorothy Brock, to sing poorly and dance awkwardly, at first, while pretending to be enamored with Texas tycoon Abner Dillon (Matthew Schenk) who’s funding the show – as long as his not-that-talented girlfriend is the lead. Dorothy’s quite the nasty, demanding Primadonna, at first, adding a touch of humor, like in the “Shadow Waltz” scene. At least we get to enjoy the true range of her lovely vocals in ensuing numbers.
Now I must compliment Boca Raton’s Lynn University whose theater program appears to have produced an abundance of excellent young actors to grace our stages. Starting with BFA Musical Theatre graduate Lauren Wickerson who stars as Peggy Sawyer – the naive, starry-eyed but hoofing-confident young dancer whose talent and concern for her fellow company members saves the day! Wickerson has managed to rack up quite a number of regional credits, claims to have been “dancing since she was four,” and I couldn’t imagine a more perfect pick to play Peggy – here and on any national stage!
A fellow dazzling dancer, Lynn musical theatre graduate and, naturally, busy local talent, is Laura Swartzendruber who completely aces the role of “Anytime Annie” Reilly. Despite being an object of licentious mockery, Annie remains devoted to the show, and is a big supporter of fellow dancer, and vocalist, Peggy Sawyer, whose abilities she tirelessly promotes to director Julian Marsh.
Another Lynn University casting connection is Charles Page as Billy Lawlor who befriends Peggy when she first arrives and is showcased as forever trying for more. And then there’s recent Lynn graduate, always front-and-center dancer Dave Pitts, who portrays choreographer Andy Lee. Pitts already boasts quite the local resume and is worth watching as a rising star on the musical theater scene. As is Demi Master as Phyllis, who also serves here as Dance Captain and is active as a dance and music teacher and local choreographer.
Michael Stafford plays a fine Pat Denning, Dorothy’s secret younger boyfriend who takes a literal beating for love, puts up with the diva’s moods and jealousies and yet, in the end, proves to be surprisingly true.
Early in the show, we see director Julian barking at his writing team of Maggie Jones (Monica Ray Andrews) and Bert Berry (Wayne Henry) to hurry up – “Miss Jones, you still have four songs to write!” – as their new musical comedy Pretty Lady is set to begin rehearsals the very next day. Maggie sings a few stanzas from her latest number in a way that presents her as a song writer, not singer. But lucky for us, she has many subsequent opportunities to fully exhibit her rich singing voice and we can see why Andrews serves on the South Florida Cappies Steering Committee, and as a Board member of the Florida Association for Theatre Education in addition to being a Boca Raton high school theatre program director.
dancers with expertise. Photo by Jerahmeel James.
Andrews is a wonderful actor, blessed with an incredible voice. Playing the kind, company “mother” figure, she invites a despondent Peggy to join their gang at The Gypsy Tea Kettle where we get to hear her vocals shine, accompanied by the great dance number, “Go Into Your Dance.” Featuring Maggie, Peggy, Annie, Phyllis, Andy, and Lorraine (Hayley Ferry).
Next JB Wing as Dorothy shows her true vocal range in the solo, “You’re Getting to be a Habit with Me.” There’s an endless progression of beautifully sung and choreographed song-and-dance numbers. I’ll just highlight a few more of my favorites. Pretty Lady‘s opening night in Philly begins fantastically, calling for large, found “dimes” to be used as circular platforms on stage for exhilarating tap number, “We’re in the Money,” starring Annie, Phyllis, Lorraine, Peggy, Billy & Chorus. But then star Dorothy accidentally trips (she accuses Peggy), breaks her ankle, and the show must close (with Julian Marsh announcing he’ll refund audience tickets).
performance. Photo by Jerahmeel James.
This happens, appropriately, just before the curtain closes for our intermission, but first Dorothy regales us with a more moving and somber Act 1 Finale rendition of “Forty-Second Street.” At the Act 2 Finale, after the show’s a roaring success and Julian is left alone onstage, he treats us to another, this time triumphant, “Forty-Second Street” solo.
Act 2’s curtain rises to the suddenly out of work showgirls refusing to succumb to defeat, with Annie & Chorus singing, “There’s a Sunny Side to Ev’ry Situation.” Peggy’s been fired and is heading home to Allentown, but Annie decides her voice and dance skills can still save the show and convinces Julian to bring her back. He insists on going alone to Philly’s Broadstreet Station to apologize, where he begins by singing the still goose-bump-raising, “Come on along and listen to, The Lullaby of Broadway.” He’s soon joined by his company who’d decided to grant him a head start but then add all the guilt-inducing (“What about us?”) ammunition they can muster as the song is majestically performed by Julian, Billy, Andy, Bert, Annie & Girls, Abner & Chorus. Till finally Peggy says “Yes,” agreeing to learn everything in two days as they all now head straight to NYC and a Broadway opening.
Like all great musicals from an earlier era, gorgeous costumes are key. Here a parade of fabulously designed glittery gowns, matching “greens,” even soldier and police uniforms, and ragamuffin garb were all picture-perfect, and a continual delight to the eye. My sincerest compliments to Head of Costumes Penelope Williams who chose costumes designed by Deborah Roberts and provided by Music Theatre Wichita. Topped off by fine wig design by Justin Lore and Amalia Phend.
