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<\/a>Set during the 1930s, Peggy Sawyer (Ashley Ruth Jones) travels to New York City to audition for the big show, \u201cPretty Lady.\u201d 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.<\/p>\n
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.<\/p>\n
\u201cI do it all the time,\u201d he said. \u201cI\u2019m not an actor, but I\u2019ve been onstage as the music director in a gagillion shows.\u201d<\/p>\n
In something new to LeMaster, he will temporarily leave the musicians when he is featured with the ensemble members.<\/p>\n
\u201cI\u2019ve never walked away from my band before,\u201d he said. \u201cMy piano player will have to jump up and wave his arms to the band. It\u2019s a little bit weird that I\u2019ve never had someone else in control underneath the stage when I\u2019m not with them.\u201d<\/p>\n 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.<\/p>\n She can empathize with the fictional composed choreographer. \u201cAndy yells a lot of notes during rehearsals for the show within the show,\u201d she said. \u201cI always tell the cast that all the notes are real.\u201d<\/p>\n Donny Gersonde, an ensemble member from South Park, is amazed at how much tap dancing is utilized throughout the musical.<\/p>\n \u201cMost shows that are regarded as tap shows like \u2018Thoroughly Modern Millie\u2019 only have a small amount,\u201d he said. \u201cThe finale alone of \u201842nd Street\u2019 is basically 12 minutes of tap.\u201d<\/p>\n A fair amount of the dancing in \u201c42nd Street\u201d pays tribute to the influential choreographer of the motion picture, Busby Berkley.<\/p>\n \u201cHe created an entire genre of dance,\u201d Banville said. \u201cThere are numerous numbers that are an ode to his overall style.\u201d<\/p>\n 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.<\/p>\n \u201cThey knew how to write a catchy tune that sticks,\u201d Banville said. \u201cIt\u2019s not like Sondheim where you almost need to have a trained ear to fully appreciate what\u2019s happening. It\u2019s accessible popular music.\u201d<\/p>\n Some of the numbers have stuck with LeMaster since he was young.<\/p>\n \u201cI think the songs are part of our vocabulary as musical theater people,\u201d he said. \u201cI remember learning \u2018Lullaby of Broadway\u2019 when I was 12. My mom, sister, aunt and I performed it in a show at my grandparent\u2019s mobile home park. All of us have grown up with the showtunes used in the evening.\u201d<\/p>\n<\/a><\/a>