THEATER REVIEW: '42nd Street'
If you'd told me before walking in to see Good Company's new production of "42nd Street" that one of my favorite moments of the show would be the gentle song "About a Quarter to Nine," I'd have been surprised. My reaction: What about the tap dancing? What about the dazzle?
But it turns out that the personal moments in this show stand out for me more than the energetic choreography. And that gives this "42nd Street" a more tender -- and even wistful -- feel than I usually associate with the show. The human side of the story shines through.
In some ways it is an impressive show, but there are weaknesses: The leading cast is not as strong as some recent Good Company productions, particularly when it comes to singing voices and vibrant stage presence, and the dancing that unfolded on the cramped stage on opening night did not always achieve the light-as-air spectacle you expect from this show.
So what was it about "Quarter to Nine" that made such an impression? It's never really stood out for me before when I've seen the show, but it did in this production. When Dorothy Brock (played with verve and style by a well-voiced Sarah J. Lofgren), the haughty star of the "show within the show" who has been sidelined with a broken ankle, comes to the dressing room of her anxious understudy, Peggy Sawyer (Kelly Brianne Hall), to offer words of encouragement, it is truly a moving moment.
As Dorothy sings, watch the way that Peggy mimes Dorothy's motions as she joins in -- tentatively at first, her hands seeming small and hesitant, and then, as the song progresses, with more confidence. It's as if we're watching a torch pass from one generation to the next: the Broadway veteran who has figured out she really wants to move on; and the up-and-coming starlet who is poised to become an inspirational model for a whole new crop of chorus girls.
Director Nancy Miller consistently looks for the human scale in this "42nd Street," and she often finds it. Lofgren gives a top-notch performance, and even the one-dimensional aspects of her character -- the scathing one-liners and over-the-top arrogance -- come across as more than caricature. (The script for "42nd Street, alas, is very broad, and it's easy to fall into a pattern in which some roles are played like cardboard cutouts.)
Likewise, Dean Rhodus' Julian Marsh -- the noted director hoping for a comeback -- offers a sense of vulnerability that makes you want to root for him, and when he gets down to outright pleading with the young Peggy to return to the stage and "save" the show, he makes the moment biting and authentic.
I was not as enamored of Rhodus as a singer. His voice is huge and impressive, of course -- befitting his years as an opera singer -- but in this role, his sound is too heavy. Launching into the show-stopping number "Lullabye of Broadway," he does it almost portentously, as if he's introducing a chorus of "O Holy Night."
Hall, as Peggy, is pert and likable, but the idea of "star quality" is a little harder to grasp from her performance. It seemed on opening night as if she needed more confidence, more dazzle -- to let the audience see more of the electric appeal her character possesses that makes the rest of the cast literally beg her to become the star of their show. As the flirtatious tenor Billy, Jonathan Wheeler shows some sharp dancing ability, but he's somewhat vocally challenged in such numbers as "Dames."
Choreographer Kaye Migaki delivers one energetic tap dance number after another, even with a cramped stage. (Having to bring a curtain down on the tiny Roger Rocka's stage and playing scenes in front of it offers so little room to maneuver that it can look awkward.) Ginger Kay Lewis-Reed's large number of costumes wind up flattering the varied body types on stage, but to me, overall they lack the vivid "42nd Street" over-the-top, chorus-spectacular quality I associate with the show.
Overall, this "42nd Street" is a diligent and hard-working show, and it is peppered with entrancing little bits: Steve Souza belting out his "oooh-ooohs" in the comic "Shuffle Off to Buffalo"; Alyssa Gauss jumping in to woo the jilted investor after the party scene; the fabulous title song; and the beautifully staged and tenderly calibrated final moment. At its best, it reminds us of the joy of all those dancing feet.
Comments:
I am always a bit hesitant to read your comments on local Fresno talent in your review column. I feel Roger Rocka’s Good Company players bring the talent of a central California community front and center stage. There is an immense amount of talent in this community offering the public a night out at the theater for dinner, entertainment, in which each of us leaves with a bit of the music in our souls to retreat upon in our daily lives. By describing Mr. Rhodus as "his sound is too heavy" is not a befitting description of such an immense talent in which Fresno should be so lucky to experience. Mr. Rhodus could very be retired and not perform, but he brings the best of himself for all of to share in his performance. He brings the light to a dark stage and it shines through with a complement of talent he shares the stage with. This complements Ms. Hall another strong talent awaiting for us to see her unveil herself in each production she performs in. In another town at another time all of these players would be warmly received for all of us are given the privilege to have them share a part of themselves to special "gift" of performance. "O Holy Night"
we have Roger Rocka's Theater and Good Company Players. Fresno can make headlines as the "not so sleepy community.'
Jo Ann Skoufis
Posted by: Jo Ann Skoufis at January 19, 2008 9:21 AM
I appreciate what you're saying, Jo Ann, and yes, I think that we are very lucky to have the level of talent we do in Fresno.
That being said, I don't think there's anything wrong with comparing the talent we have against a higher standard of excellence. Complacency doesn't get us anywhere. :)
So, for me, I have to say that I was disappointed on the whole with the Ensemble, and the highlights of this show were Kelly, Sarah and Dean-- hands down, and it really had everything to do with chemistry. The chemistry between Dean and Kelly was inspiring, and truly, truly genuine. And Donald, you were SO RIGHT about "Quarter to Nine." I teared up (rare), and it was because of those little details like the hands, and the look on Sarah's face as Kelly sang the last note.
As to Dean's voice, I'm going to get a tiny bit personal here and say that it was in watching his performance that I finally understood what my teacher has been telling me about "just because you can, doesn't mean you need to." :) As a vocalist, sometimes it's difficult to put the voice second in lieu of a character choice, because it can feel like the music is being sacrificed. "Why shouldn't I sing this note to the best of my ability?" What I saw was, sometimes it didn't need it. The way it was put to me was, "Look, you've already established that you can sing. So now you can characterize."
That being said, while Dean's voice is always a treat to hear (understatement of the century), what really blew me away was his presence on stage. It was just... effortless and genuine, and again, the chemistry with Kelly was very moving.
And I almost posted this without mentioning how much I LOVED Alyssa Gauss. You know the sort of performer where, as an audience member, you can just relax and enjoy, and not worry if a note is going to be right or a cue is going to be missed? That's the sort of performer Alyssa is.
Posted by: Elizabeth at January 19, 2008 1:49 PM
My thoughts on the leads::
Peggy: unprepared! she seemed nervous onstage. I didn believe her performance at all. She played the part too cocky?
Julian: The only thing about this guy that works is his voice. its beautiful. but this show doesnt call for an aging opera singer, it was a bad fit for him.
I WAS NOT IMPRESSED BY THE LEADS! The only thing that kept from leaving at intermissionm was the ensemble numbers.
Billy: Vocally challenged. Yet he did have an ease on the stage esp. in first act.
Dorothy: Well played, but "1/4 to 9" did not move me. Mostly because of Kelly Hall's unproffesional stage presence
Posted by: Brian M. at January 21, 2008 12:50 PM
have not seen the show, but so nice to see people talking about it!
Posted by: Greg at January 21, 2008 8:27 PM
I on the other hand believe Billy (played by Jon) gave the performance of a life time. We will be seeing this young man on the big screen or even on broadway. He has become a staple at Roger Rocka's and I have enjoyed each and every one of his performances. I even had the pleasure of meeting him a couple of times and he seems to be a hell of a nice guy and a true artist...
I believe Mr. Donald Munro's taste can only be found in his mouth. He would not recognize talent if it came up and slapped him in the face. Ouch, sorry Mr. Munro, perhaps your turn for talent can be found in your next life. Don't be discouraged I just don't believe this is your calling. Keep trying to find your niche, I have faith you will find your true passion and something you will excell in.
Posted by: Dani at January 23, 2008 4:15 PM
I'm not going to knock anyone's performance here, but saying that was a "performance of a lifetime" (in reference to the last posting) is a bit of a stretch. Telling the reviewer that he is in the wrong line of work just because he doesn't agree with your opinion comes across as extremely immature and has about as much class and validity as a Youtube comment. While I have not always agreed with Mr. Munro's opinion, I do respect that they are HIS opinions. It was a fair and honest review.
Posted by: CJ at January 26, 2008 10:15 AM
Amen. Thank you, CJ.
Posted by: Barbara at January 26, 2008 12:00 PM
I have to side with CJ. I often don't agree with Mr. Munro ( usually about movies, not theater), but he's seen more theater than I, I dare say, and I was in the biz for 15 years. Because he doesn't step out on stage does not make his opinions less valid, I dare say, in some circumstances, it makes them more.
Posted by: C1 at January 26, 2008 5:48 PM
Mr Munro...this is Fresno, Central Valley California...not Broadway and despite that we have some extremely talented performers here, but you seem to want to dismiss them all for lack of "talent". I remember your review of Dean Rhodus and Ann Sullivan Whitehurst in the "Man of La Mancha" and a crack about AARP. Get off it and figure out that we don't get people of that caliber to come out very often and grace our stages with true talent. And as for Kelly, she is a up and coming budding actress who is a joy to watch on stage and although some of her roles are a stretch, she rises to the challenge every time. Jon also is a fine performer, but young and still immature for theater standards. Between the commitment time and atmosphere at Roger Rockas, strong and mature performers are not easy to attract, so when someone of Dean Rhodus' caliber comes along, your should give him the dues he deserves. Dean Rhodus is a gited and true artist who brings class and dignity to the RR stage. Mr Munro, stick to your movie reviews, as most of those actors need your comments. Please will someone in charge at the Fresno Bee realize, we need a new reviewer for the Fresno Bee, one who actually knows live theater. Just ask me, I would do it for free!!!! and do a smashing job at that.
Posted by: LJ at January 29, 2008 5:37 PM
I could not agree more with LJ. I just saw the show tonight and walked out very impressed with the show that I had seen. To have a talent like Dean Rhodus in this community (who, as a side note, was AMAZING in Lamancha...another disgusting review given by Mr Monroe as well) is a blessing. Mr Monroe wouldnt know talent if it bit him in the butt. The show was sweet and charming and the cast seemed very comfortable on stage...the audience was very engaged and enjoyed a solid performance with great leads...lead by Mr Rhodus. Please find something else for Donald Monroe to do...because reviewing talent and the arts in Fresno is definitely not his forte!!!
Posted by: Ryan at January 31, 2008 12:34 AM
I would have to say that all the weak performances is a result of the script. Honestly, the script is very very weak. I've worked on this show before and the script has no depth to it that it makes all the characters look one level and boring. There isn't much to this musical at all. The songs are not all that great. The dialogue is not that awesome. I don't blame actors for the weak performance. I blame the playwright for writing such boring work.
Posted by: Cindy at January 31, 2008 9:27 PM
I really enjoyed Dean Rhodus in the part...he was very comfortable & natural...you could tell he was enjoying himself. As for his singing, beautiful!!! The comment about his voice seeming to be too powerful was ridiculous. Maybe you didn't notice, but he was the ONLY member of the cast without a microphone - WOW! his voice carried beautifully and never once felt like an opera singer past his prime. Shame on you!! Kelly Hall was adorable. She was very believable in the part and her singing and dancing were top-notch! Other worth mentioning were Alyssa and the guy who played the stage manager/featured dancer! There were some moments of weakness with the ensamble, but in all it was a good performance. There were not many aspects of this review (nor are there that many Mr. Monroe write that I agree with)!
Posted by: Michelle at January 31, 2008 10:22 PM
I enjoy 42nd St, but its such a name show that you have certain expectations. I've seen a lot of GCP shows and heve certain expectations. This production did not fulfill my expectations.
Posted by: AnnieNomus at February 8, 2008 4:13 PM
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