Among those rare chestnuts that stand the test of time is 42nd Street, which tap-danced its way into Milwaukee for a week-long run. This town doesn't get many national tours, but when it does - wow! The pure energy of more than 50 tap dancers onstage was a sight to behold, not to mention the zillions of gorgeous, glittering costumes and the Art Deco-themed sets. This is a dance show to end all dance shows, and it makes this point very clear from the opening number. In one of the most effectively staged moments in Broadway history, the curtain rises, ever so slowly, as a flurry of tap-dancing feet can be seen. Then the curtain stops, so we can fully appreciate the symmetry before our eyes. Before long we see the entire chorus line, with fresh-faced dancers auditioning for parts in a new musical. The show is set in the Depression, so finding a job is especially critical. There are a few references to "bread lines" and such, but 42nd St.is a show about escapism. The tale of a-star-is-born is not exactly original, but who cares? Under the sure direction of Randy Skinner, the production very tight but nicely paced without seeming breathless.
Now, let's talk about the performers. This company features names unknown to Midwest audiences but probably would be easily recognized by New York theatergoers. Polished performances are the norm here, with Catherine Wreford as the ingenue, Robert Spring as the conniving tenor, Patrick Ryan Sullivan as producer Julian Marsh, and Blair Ross as Dorothy Brock, the aging star who must graciously step aside when young talent comes knocking at her door. Both Sullivan (as Marsh) and Ross (as Brock) are exceptionally fine; they stand out among a talented troupe of actor/dancers.
The key to a successful production of 42nd St., is energy, and this group is not lacking in wattage power. Each timeless Warren and Dubin tune is beautifully put across (credit belongs to the orchestra members, too). Even a lesser-known number, such as "Go Into Your Dance," is done with verve. Some of this is undoubtedly due to stage veteran Patti Mariano as Maggie Jones, the wisecracking half of the show's song-writing team. She's a gem. With the late Gower Champion creating the original choreography, production numbers only come in large sizes: "bigger" and "biggest." The best of them all is "We're in the Money," although a case can certainly be made for the title tune, too. Okay, the plot may be hokey, but so what? This show is a winner all the way.
