The Long Island Advance
Glamour, Dancing, and Music
Oh, those dancin’ feet.
They tap into view as the curtain raises.
It’s 1,2,3,4,5,6, 7, 8. They have to get it right because the tickets are $4.40 a seat. The “Audition” number leading with Andy Lee (Willie Clyde Beaton II), grabs the audience. And the cast of “42 Street,” at The Gateway in Bellport, all 23 of them, look like they’re having a ball from the get-go.
The story of newcomer, Peggy Sawyer (Elizabeth McGuire), from Allentown, Pa. who arrives at Broadway for a shot a stardom, takes place during the Great Depression. Can she get the job and then take over for the glamorous star, Dorothy Brock (a superb Kristen Beth Williams) in “Pretty Lady” when she breaks her ankle. Originally a 1933 film, it was a time when musicals and movies distracted people from their troubles, considerable back then with rampant unemployment. Many of the stories depicted underdogs who succeed hauling a show up with fabulous costumes (as in this production), sticking to an ideal, or they were madcap, hilarious comedies or fantasies.
So when you see numbers like “Go Into Your Dance,” as Peggy is welcomed as a new cast member at lunch by Maggie Jones (Jessica Wockenfuss), Annie Reilly (Sarah Dearstyne), Phyllis Dale (Marlina Brown), Lorraine Flemming (Haley Holcomb), Andy Lee (Willie Clyde Beaton II) including the waiters at The Gypsy Tea Kettle Restaurant, it’s a fun, joyful tap dancing spin on your imagination with all of them twirling their talent around the table.
(Like, who does that? Even in the Russian Tea Room that doesn’t happen! But that’s why you need musicals.)
Awesome praise to director/choreographer Randy Skinner as well as associate choreographer, Mary Giattino, double threats, for this marvelous show. Skinner has Tony award-winning best musical revival cachet and has worked on many blockbuster shows. Giattino is a former Rockette, Broadway and Gateway performer who owns and runs Stage Door School of Dance.
They know what riveting dance should look like and guide the cast with brilliance. And the cast follows with amazing energy and panache.
The Broadway musical that emerged in 1980 was directed by iconic dancer, choreographer and musical film star Gower Champion. After Champion’s untimely death just before opening night, Skinner took over. And that’s why over the years this show has held up.
As in…the beautiful, graceful “Shadow Waltz,” where Dorothy Brock performs against a colorful silhouetted background with lithe men in tuxes, or “We’re in the Money,” with the whole company in gold costumes as dancing coins, dimes to be exact.
There’s an amazing sequence, a nod to classic film star Gene Kelly’s “Gotta Dance” in the “42nd Street” number towards the end of the show when Peggy bucks up under pressure. The music builds, the cast is masterful with jazzy, seductive steps, tap, stomp, tap jiggle. Arms up and out. It even has this slick guy in black (the sinuous Sam Sanderson) who “kills” Billy.
Ryan K. Bailer as Julian Marsh was an elegant, remote, then ultimately tender Captain Von Trapp and an attractive Juan Peron in past Gateway productions. In “42nd Street” he’s the brusque, serious theater impresario, the commanding presence whose total focus and determination goads Peggy and the cast to get the best show out there despite sore feet and aching bodies. His weary cynicism dissolves, passion unleashed, singing, “Lullaby of Broadway.”
Watch Elizabeth McGuire’s Peggy evolve, realizing her talent as the show builds, not in a pretentious way but in a “Wow, I really do have this. Thank you!” McGuire has performed the show several times in other theaters; she’s perfected Peggy’s humbleness. Her singing and dancing are superb.
Kristen Beth Williams embodies her Dorothy Brock star character. She’s glamorous vocally and as a dancer, (even with a cast on her leg).
Robert Anthony Jones is hilarious as Abner Dillon, the unsophisticated wealthy boyfriend bankrolling Dorothy’s career. Jesse Swimm plays Dorothy’s real love interest trying to avoid getting bumped off to save the show, adding a poignant element.
Cullen R. Titmas as co-writer Bert Barry with Maggie Jones (Jessica Wockenfuss), are a funny duo especially in “Keep Young and Beautiful.”
Willie Clyde Beaton II’s Andy Lee, the dance director for the production, was also an amazing ensemble member in Broadway’s “A Wonderful World, the Louis Armstrong Musical” musical. Griffin Wilkins as Billy Lawlor shines with youthful pizazz.
How music director/conductor Andrew Haile Austin with associate music director Jake Turski and the orchestra keep the expert tempo going with 14 demanding dance scenes and upbeat songs, we’ll never know. But they did. Bravo!
Suffolk County executive Ed Romaine and his wife attended the show on opening night and, along with the audience, watched the astonishing “Finale” a rocking, extra bonus after the cast took their bows. The man next to me from Babylon Village shook his head in wonder at the dancing saying, “It’s contagious!”
Yes, it was!”
Patch.com
Go See The Gateway's Tap Extravaganza “42nd Street"
With their latest polished-to-perfection production of “42nd Street,” The Gateway Playhouse once again proves that Bellport is the place to see Broadway-caliber shows right here on Long Island.
From the moment the curtain rose, revealing a glamorous chorus line of world-class tap dancers decked out in stunning costumes strutting their stuff, it was apparent why this Broadway musical received a Tony Award for Best Musical after its premiere in 1980. The 2001 Broadway production won the Tony for Best Revival.
Based on the 1932 “scandalous potboiler” novel by Bradford Ropes and the subsequent 1933 film adaptation, this jukebox musical has a book by Michael Stewart and Mark Bramble, lyrics by Al Dubin and Johnny Mercer, and music by Harry Warren. The original Broadway production, directed and choreographed by the theatrical visionary Gower Champion, turned out to be his “swan song.” Sadly, Champion passed away ten hours before the show opened. During the curtain call, Producer David Merrick announced the devastating news, much to the dismay of the shocked cast and audience.
Randy Skinner masterfully directs The Gateway’s current production, featuring the choreography from the original Broadway production recreated by Mary Giattino. Skinner worked directly under Champion and was largely responsible for the tap dance routines in the show. After Champion’s untimely death, Skinner stepped in to take over the choreography, ensuring the meticulous technical expertise of the famed director, choreographer, and dancer lived on.
“42nd Street” is a backstage musical that celebrates the magic and wonder of Broadway, utilizing the theatrical technique known as a play-within-a-play. The audience witnesses the evolution of the musical “Pretty Lady” from auditions through rehearsals to the drama-filled premiere, highlighting the highs and lows of the process while offering glimpses into the personal lives of the creative team involved.
The musical takes place during the Great Depression, a time when “Brother, Can You Spare a Dime?” became the anthem of a generation. The plot revolves around an aspiring chorus girl, Peggy Sawyer from Allentown, Pennsylvania, who comes to the big city armed with big dreams, a warm heart, and an abundance of innate charm and theatrical skills. Elizabeth McGuire, a versatile actor, delivered a tour-de-force performance as the talented but timid Broadway wannabe. McGuire is a tap dancer extraordinaire, and her powerhouse vocals were showcased throughout the performance. Griffin Wilkins was perfectly cast as Billy Lawlor, Peggy’s love interest, and the leading tenor in “Pretty Lady.” Wilkins and McGuire’s powerful duet, “Young and Healthy,” was one of the musical’s highlights. Wilkens also delivered a riveting performance of “Dames.”
Broadway veteran Kristen Beth Williams, a charismatic and captivating performer, held the audience spellbound every time she stepped on stage. Williams possesses that hard-to-define, yet much-sought-after Hollywood magnetism necessary to pull off the part of Dorothy Brock, an aging diva desperate to stay relevant, no matter what the cost. Janine Loesch, the astute Costume Coordinator, outfitted Williams in some of the most spectacular gowns you will see on any stage. Williams’s heartrending delivery of “I Only Have Eyes for You” was an unforgettable onstage moment. Robert Anthony Jones as Abner Dillon, the producer of “Pretty Lady,” and Dorothy’s jealous Sugar Daddy, received the biggest laughs of the evening. He also stunned the audience with his singing and dancing ability during the “Getting Out of Town Reprise.” Jesse Swimm aced the role of Pat Denning, Dorothy’s former vaudeville partner and true love.
Ryan K. Bailer, a Gateway veteran, was believable as the renowned and demanding director Julian Marsh. He commanded the stage and showcased his rich, velvety vocals during “Lullaby of Broadway.” This musical starts with a bang and goes out with a whimper as this magnificent actor stood alone on stage, with just a single ghost light illuminating him, delivering a hauntingly beautiful reprise of “42nd Street” in a soft, melancholic reverie.
Jessica Wockenfuss as Maggie Jones and Cullen R. Titmas as Bert Barry were convincing as the co-producers and co-writers of “Pretty Lady.” Their duet, “Keep Young and Beautiful,” was one of the high points of the show. Titmas and Wockenfuss, along with Sarah Dearstyne as Ann Reilly, showcased their immense talents during the comedic number, “Shuffle Off to Buffalo.”
Willie Clyde Beaton II gave a standout performance as Andy Lee, the dance director of “Pretty Lady.” The mega-talented ensemble, with their pitch-perfect vocals and dynamic dance moves, brought their A-game to this production. A standing ovation is extended to all of them, including Ian Black, Marlina Brown, Chase Fontenot, Haley Holcomb, Josh McWhorter, Brandon J. Morris, Becca Perron, Sean Quinn, Colleen Roberts, Sam Sanderson, Bryan Seastrom, Halle Surgil, and Keila Sue Wong.
The Gateway assembled a top-notch creative team, including Music Director Andrew Haile Austin, Scenic Designer Kelly Latta, and Sound Designer Ben Takitch. A special shout-out goes to Dustin Lawson for his wig design, which replicated the glamorous hairstyles of the 1930s, and to José Santiago for his exquisite lighting design, which included a well-executed “Shadow Waltz” featuring Maggie, Dorothy, and the Male Ensemble. The big production numbers, costumed by Loesch, especially the sparkling gold sequin and paillette designs displayed during “We’re in the Money,” are stunning visual treats and are worth the price of admission.
This electrifying musical is like an ecstatic energy effusion that leaves you breathlessly excited and exuberantly alive!
Dan's Papers
Shuffle Off to The Gateway for a Dazzling '42nd Street'
It’s the 1930s, the time of razzle dazzle musicals laced with big dance numbers. There was Fred Astaire and Ginger Rogers and the Busby Berkeley extravaganzas, most notably 42nd Street. These visually stunning musicals ushered people out of the plight of the Great Depression for a few hours to delight in spectacular dance numbers and romantic entanglements.
Now, The Gateway Playhouse gives the public a much-needed escape from present day problems to get lost for a few hours in the rhythmical sound of those dancing feet with the musical version of 42nd Street.
Based on the 1932 novel by Bradford Ropes, this jukebox musical with book by Michael Stewart and Mark Bramble, lyrics by Al Dubin and music by Harry Warren opened on Broadway at the Winter Garden Theatre on Aug. 25, 1980, and enjoyed an extensive run closing on Jan. 8, 1989. The production was directed and choreographed by the great Gower Champion and produced by David Merrick.
There are times when life is more shocking than fiction. Such was the case when on opening night as the cast enjoyed a rousing standing ovation, Merrick had the difficult task of coming onstage to announce the sudden death of Gower Champion.
The Broadway production went on to win the Tony Award for Best Musical and Best Choreography. The original cast included Jerry Orbach and Tammy Grimes. The 2001 Broadway revival won the Tony Award for Best Revival.
This play within a play tells the story of Peggy Sawyer who steps off a bus from Allentown, Pennsylvania, with suitcase in hand and dreams of getting her big break on Broadway, but she freezes outside the stage door trying to muster the courage to audition for the new musical “Pretty Lady.” Billy Lawlor, who has already been cast as one of the leads in the show, notices her and is instantly attracted. Backing for the show comes mainly from southern tycoon, Abner Dillon, who insists that his love interest, Dorothy Brock, a prima donna past her prime is cast in the leading role. The show’s producer, Julian Marsh, who lost his savings during the Great Depression, is counting on “Pretty Lady” to be his comeback, so he agrees to cast Brock to secure the backing he desperately needs for the show.
Co-writer and producer, Maggie Jones, and some of the chorus girls see Peggy standing outside the theatre. They take pity on her and invite her to join them for lunch. They try out a dance routine with her which she aces. Julian Marsh happens to catch it and puts her in the chorus.
Fate has a funny way of stepping in. When Dorothy turns her ankle during the previews, it appears the show is doomed to end before it has a chance to begin until Peggy gets her big break. This show bubbles with lots of plot twists and romances against show stopping tap numbers. The musical score is teeming with popular standards including “You’re Getting to be a Habit with Me,” “I Only Have Eyes for You,” “We’re in the Money,” and the title song “42nd Street.”
Director/choreographer, Randy Skinner, has a unique history with the Broadway revival of 42nd Street. Mark Bramble, who co-wrote the book and directed the revival in London with Skinner as choreographer, passed in 2019 and Skinner stepped into the role of director. His singular experience with the show is obvious in this highly polished production.
Elizabeth McGuire skillfully infuses Peggy Sawyer with wide-eyed innocence, effortless dancing and vivacious vocals. As leading man Billy Lawlor, Griffin Wilkins impresses with stunning tenor and smooth dancing. When McGuire and Wilkins team up on songs like “Young and Healthy” and “You’re Getting to be a Habit with Me,” it is magical.
Kristen Beth Williams as aging actress Dorothy Brock is dynamic with gorgeous vocals that enchant on songs like “You’re Getting to be a Habit with Me” and “I Only Have Eyes for You.” Robert Anthony Jones is a hoot as Abner Dillion, Dorothy’s southern sugar daddy while Jesse Swimm as her old flame, Pat Denning, adds a measure of pathos.
As producer/writer duos of “Pretty Lady,” Jessica Wockenfuss (Maggie Jones) and Cullen R. Titmas (Bert Barry), are adorable and take us on a joy ride with their song “Keep Young and Beautiful.”
Kudos to Ryan K. Bailer who is suave as famed director Julian Marsh. His vocals on “Lullaby of Broadway” and reprise of “42nd Street” are outstanding.
The ensemble sparkles with each exhilarating tap number and synchronized chorus line. Two standouts are Sarah Dearstyne and Clyde Beaton II. Dearstyne plays chorus girl, Ann Reilly, with comedic flair and rich soprano while Beaton II as dance director Andy Lee exudes grace with every step.
Music director, Andrew Haile Austen, and the band preside over the festivities keeping the action effervescent.
Kelly Latta has crafted a set that morphs easily from one scene to the next. A nice touch is the giant screen depicting shadows of male dancers that accompany Dorothy in “Shadow Waltz.” José Santiago’s lighting design adds a splash when needed and softer tones for intimate scenes. Ben Takitch’s sound design complimenting the vocals.
Janine Loesch’s costumes are an integral part of this 1930s period piece. All the swing skirts allow for quick and easy movement while top hat, tails and canes make for debonaire visuals. Loesch punctuates each character with costumes that accentuate personality. Peggy appears in pale blues, Maggie in reds to match her red hair and diva Dorothy Brock is the height of sophistication from her first entrance in a stunning white suit with fox stole to all her other glamorous outfits. Dustin Lawson’s wig design exemplifies the hair styles of the early 1930s.
The Gateway is professionalism at its best in the heart of Bellport. So, put on your dancing shoes and shuffle off to 42nd Street for a fun-filled night of song and dance that will leave you humming and dancing long after the final curtain.
