By Bryan Stubbles
42nd Street, written by Michael Stewart and Mark Bramble (book) and Harry Warren (music) and Al Dubin (lyrics), is based on Bradford Ropes’ novel. For those who don’t know, this is an interesting example of a musical that was a film first (way back in 1933) before being turned into a Broadway musical in 1980, amidst a revival of Depression-era musicals.
The dual-track plot concerns the Broadway milieu of 1933. Over-the-hill stage diva Dorothy Brock (Victoria Casey) attempts to mount a comeback in a musical financed by her Tulsa oil baron boyfriend Abner Dillon (Clint Thomas). Meanwhile, Miss Allentown, PA Peggy Sawyer (Toni M. Piiato) arrives in the Big Apple intent on becoming a chorus girl. Naturally their paths collide (metaphorically and later physically) when Peggy is given a shot at being a chorus girl in Miss Brock’s play.
Through numerous twists and turns, the plot and characters evolve until Peggy literally collides with Brock, breaking the diva’s ankle. Peggy is fired. The big show will be cancelled. The other chorines suggest to dictatorial producer Julian Marsh (John Marshall) that he choose Peggy as the musical’s new lead. Will Peggy do it? Will the show be a success? You’ll have to see 42nd Street (or its Wikipedia page).
Casey as Miss Dorothy Brock brings the proper amount of aloofness mixed with humanity in her role. Pilato as young Peggy Sawyer shows possibly the most impressive comedic timing I’ve seen in a great while amongst an entire cast whose comedic timing is superb. Marshall stands out as no-nonsense director Julian Marsh with a heart of gold. Jacob Fleck is winning as Peggy’s possible love interest and Kent C McMillan is properly loutish as Dorothy’s unsteady other beau – oh yes, Dorothy was two-timing the rich oilman, who was played with aplomb by Thomas. Adrienne Clark also stood out as a chorus girl with attitude.
As we know, theatre is a group effort and I truly want to emphasize what a momentous undertaking this is – especially for a community theatre troupe like The Charleston Light Opera. Everyone in this show can flat out sing and also flat out dance. If you are a tap dance addict, this show will fill your craving for at least six months, guaranteed.
The play is suitable for all ages.
This behemoth of a production is directed and choreographed by the skilled Nina Denton Pasinetti. All those routines and comedy and drama – this is a big show. It blows my mind.
Thomas P. Pasinetti handles the lighting. The use of onstage (prop) lights mixed with the traditional lights impresses me.
Sets were provided by Gateway Playhouse out of Bellport, NY. The stage crew does an excellent job of moving deftly between scenes (the play contains 16 scenes).
One thing particular that stood out is the use of massive dimes in the famous number “We’re in the Money.”
Costumes are provided by several companies, but I want to give special mention to ALL the dressers because there’s about a zillion costume changes in this show and the dressers deserve special mention: Joy Thomas, Lindsey Duvall, Heather Allen, Stevie Brigode, Olivia Casey, Sherri Hudnall, Marsha Isaacs, Drema White, and Taylor Shaw.
The capable Mike Ramsey handles sound design.
Musical director/conductor Bobby Hodges, Jr does a superb job with the pit orchestra (a welcome addition to any musical). The orchestra plays well with a special nod to bassist Phil Washington.
Charleston Light Opera Guild’s 42nd Street at the Charleston Coliseum & Convention Center Little Theatre was all I’d hoped for in a musical. I hope to see other offerings by this stellar theatre group.
Charleston Light Opera Guild presents 42nd Street. Book by Michael Stewart & Mark Bramble, Lyrics by Al Dubin, Music by Harry Warren.
Charleston Coliseum & Convention Center Little Theatre, 200 Civic Center Dr, Charleston, WV 25301
April 26-27, May 3-4,10-11, 2019 7:30 PM, May 5, Sunday matinee 2:00 PM
Tickets: $20
Contact: 304-342-9312 contact@charlestonlightoperaguild.org
Charleston Light Opera Guild Facebook Page
42nd Street Facebook Event
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