Chorus line

42nd Street takes a look at theater behind-the-scenes

by Theresa Regli

42ND STREET Based on the novel by Bradford Ropes. Music by Harry Warren. Lyrics by Al Dubin. Book by Michael Stewart and Mark Bramble. Directed by Jeff Williams. Choreographed by Susie Michaud. Produced by Gail Steele. Technical direction and set design by Jim McDonough. Lighting design by Paul Martini. Sound design by Jeff Boisseau. With Sandie Couture, Laurie Marcinkewicz, Michelle Caissey, Julie Capone, Nicole Couture, Nicholas Howe, David Ludt, and Tom DiRusso. At Theatre at the Mount, Gardner, through August 24.

Theater at the Mount knows what makes for good summer family entertainment. Like last August's production of George and Ira Gershwin's Crazy for You, this summer's show, 42nd Street, is equally fun and enjoyable and an even stronger production than last year's.

Like Crazy for You, 42nd Street is a "backstage" musical, meaning that it's a show within a show -- a musical about the sweat, toil, trails and tribulations of the theater world. In this case, some of the everyday problems are worse than usual, as it's the 1930s and the Great Depression has made the prospects of being a struggling stage performer even more unappealing. But 42nd Street, which was originally a novel, was produced as a movie long before it was a Broadway show. In the 1930s, gifted choreographer Busby Berkeley became famous for his elaborate, almost surreal direction of extravagant movie musicals, during which dancing girls were arranged in huge kaleidoscopic images. Berkeley used special effects and elaborate costumes to make vivid arrays of swirling shapes composed of women's bodies. 42nd Street, the movie, was Berkeley's first major work.

It wasn't until 1980 that 42nd Street came full circle and was turned into a Tony-winning musical. Since then, it has been a popular, "sure-bet" show that has pleased audiences and rarely failed to entertain. Theatre at the Mount takes it a step further; the cast has so much fun on stage that the audience can't help but feel the performers' positive energy.

At the show's opening, the chorus girls in 42nd Street are excited to hear that famous Broadway director Julian Marsh is planning to stage a show -- Pretty Lady -- and auditions are about to be held. At about the same time, young Broadway hopeful Peggy Sawyer arrives from the not-so-happening metropolis of Allentown, Pennsylvania, looking for a part in a musical. Meanwhile, longtime Broadway performer Dorothy Brock "earns" the lead role thanks to a $100,000 contribution from her wealthy paramour. All the actors get the parts they want, and the show is a smashing success until the opening-night finale, when Peggy knocks Dorothy down, breaking her ankle. After a fit of rage from the director, the chorus girls convince Marsh to keep Peggy and have her step in as the lead.

The real strengths of the Mount's show are the dancing and the consistency of the minor characters. Since I had one of the chorus girl's mothers behind me yapping away throughout the show, I know "how hard these girls worked, every night for weeks." But that would have been obvious without this mother reiterating it a few dozen times. While the opening number was a bit off, probably due to opening-night jitters, the dancing grew stronger and more solid as the show progressed; "We're in the Money" transformed the dancing from good to explosive, an energy that carried into the second act. The final duet between Peggy (Laurie Marcinkewicz) and Billy Lawlor (Nicholas Howe) was an enchanting moment.

Particularly strong performances include the quartet of central chorus girls, played by Julie Capone, Nicole Couture, Darlene Dickson, and Rebecca Nutting. Their dance numbers are nearly flawless. Capone, with her amusing New York accent and wide smile during every dance number, is particularly entertaining. Michelle Caissey, who plays Pretty Lady writer/ producer Maggie Jones, also stands out. She is definitive and animated, and the pleasure she takes in being on stage is contagious. Laurie Marcinkewicz is a charming Peggy Sawyer, but her dancing is much stronger than her singing. The final rendition of "42nd Street" lacks the blusey, gritty feel that Sandie Couture (who plays Dorothy Brock) properly gives it at the end of the first act.

Still, because of the excellent dancing, the show ends on a up note. "Musical comedy are the most glorious words in the English language," Julian Marsh says midway through rehearsals. Well, I think most folks would disagree, but this cast is quite good at fooling you into believing that for a few entertaining hours.