por David Dixon
A hit production of the musical “42nd Street” should feature wonderful choreography, a triple-threat cast and tuneful renditions of songs like “We’re in the Money,” “I Only Have Eyes For You,” and “Lullaby of Broadway.”
San Diego Musical Theatre’s production at the Spreckels Theatre should have plenty of all that in spades.
Set during the 1930s, Peggy Sawyer (Ashley Ruth Jones) travels to New York City to audition for the big show, “Pretty Lady.” Although she arrives late for the audition, she becomes friends with several chorus girls involved with the dance extravaganza. When the well-known and quick-tempered director, Julian Marsh (Robert J. Townsend), sees her perform a stellar dance routine, he decides to cast her as a chorus girl.
Responsible for the massive sound of a 14-piece band is musical director Don LeMaster, who lives in University Heights. He has been the resident musical director for almost a decade. Throughout the evening, LeMaster will be playing piano onstage. While conductors usually are not featured in the action, he is used to being involved with the plot.
“I do it all the time,” he said. “I’m not an actor, but I’ve been onstage as the music director in a gagillion shows.”
In something new to LeMaster, he will temporarily leave the musicians when he is featured with the ensemble members.
“I’ve never walked away from my band before,” he said. “My piano player will have to jump up and wave his arms to the band. It’s a little bit weird that I’ve never had someone else in control underneath the stage when I’m not with them.”
Also stepping up to a challenge is University Heights resident Katie Whalley Banville. She not only co-stars as dance director Andy Lee, but is the dance captain in this version directed by James Vasquez.
She can empathize with the fictional composed choreographer. “Andy yells a lot of notes during rehearsals for the show within the show,” she said. “I always tell the cast that all the notes are real.”
Donny Gersonde, an ensemble member from South Park, is amazed at how much tap dancing is utilized throughout the musical.
“Most shows that are regarded as tap shows like ‘Thoroughly Modern Millie’ only have a small amount,” he said. “The finale alone of ‘42nd Street’ is basically 12 minutes of tap.”
A fair amount of the dancing in “42nd Street” pays tribute to the influential choreographer of the motion picture, Busby Berkley.
“He created an entire genre of dance,” Banville said. “There are numerous numbers that are an ode to his overall style.”
The 1980 adaptation of the classic movie incorporates musical numbers from the film as well as other melodies penned by Harry Warren and Al Dubin. Many of their songs are instantly memorable.
“They knew how to write a catchy tune that sticks,” Banville said. “It’s not like Sondheim where you almost need to have a trained ear to fully appreciate what’s happening. It’s accessible popular music.”
Some of the numbers have stuck with LeMaster since he was young.
“I think the songs are part of our vocabulary as musical theater people,” he said. “I remember learning ‘Lullaby of Broadway’ when I was 12. My mom, sister, aunt and I performed it in a show at my grandparent’s mobile home park. All of us have grown up with the showtunes used in the evening.”
Those interested in the world of backstage theater or just in the mood to see exuberant and extravagant entertainment, ought to buy tickets in advance for the special engagement. SDMT’s interpretation appears destined to be an irresistible love letter to Broadway.
—Fanático del cine y el teatro desde muy joven, David Dixon ha escrito reseñas y reportajes para varias publicaciones impresas y en línea. Puedes localizarlo en [email protected].
