The Forestburgh Playhouse is 'getting to be a habit with me'

Posted 8/21/12

It’s no secret that I have a great love for theatre in all its many forms, including musical comedies. On top of that, I have a soft spot for the incredibly charming Forestburgh Playhouse (FBP) and …

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The Forestburgh Playhouse is 'getting to be a habit with me'

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It’s no secret that I have a great love for theatre in all its many forms, including musical comedies. On top of that, I have a soft spot for the incredibly charming Forestburgh Playhouse (FBP) and have been reviewing shows there for more than ten years. I’ve enjoyed many, but have not loved them all – that in itself, would be impossible. This season, under the guidance of Producer Franklin Trapp, has been outstanding and isn’t over yet, so I look forward to what still awaits. But the topic at hand is their latest production, the all-singing, all-dancing mega-spectacular “42nd Street.” Without a doubt, "42nd Street" is the most fabulous musical that I have ever seen at the playhouse.

Although I took my seat last week, along with a sold-out audience, I’m feverishly looking for space on my calendar to see it again-not only for the impressive acting, singing and ridiculously awesome choreography, but simply because it made me feel so darn good.

Based on the novel by Bradford Ropes and subsequently made into a 1933 film of the same name, “42nd Street” is pure entertainment, set against the background of the Great Depression. During that time period, Americans were desperate for an escape, and the musical gave moviegoers an opportunity to sit back, relax and forget their troubles for a few hours. Giving it new life on Broadway in 1980, writers Michael Stewart and Mark Bramble teamed up with legendary director/choreographer Gower Champion and garnered the Tony Award for “Best Musical” in its original run on the Great White Way, and again in a Broadway revival in 2001. If there were awards given to summer stock productions, this incarnation, now running at the FBP, would sweep all categories.

This time around, director/choreographer Robin Levine has done the near-impossible, by creating a mini-masterpiece in a very small venue, enabling her performers to shine like no others, as they tap their way onto the stage and into our hearts with such style and professional polish that I’m still trying to figure out how she did it. Assisted by multi-talented Dance Captain Abbey Sierakowski, Levine and Sierakowski’s attention to detail shows in every step, every nuance and every picture-perfect moment as the memorable songs wash over the audience. The ensemble is perfection and their dance skills crazy-impressive, but musical director Henry Lewers’ musicians and skills are undeniable as well, since the all-important chorus is so spot-on that I felt transported in time, by virtue of the vocal prowess exemplified by the resident company, who by all appearances were having a swell time, too. There is a very identifiable sound to the era and these guys and girls nailed it.

Genevieve Beller’s costuming hit all the right notes too, and Bradley Wherle’s scenic design grew in size and scope as the fictitious production mounted by “Famed Broadway Producer” Julian Marsh (Mark Hardy) mirrors that. Hardy is terrific and his interpretation of a legendary producer equally so. His leading lady , played to the hilt by actress Kim Rachelle Harris, is the quintessential “has-been” star, who “hasn’t had a hit in years,” and Harris’s voice is undeniably fantastic in tandem with her hilarious (and sometimes touching) portrayal of a Broadway Diva.

The story line follows ingénue Peggy Sawer (Julie Kavanagh) seeking stardom in the big city, and while the show is a light and airy pastiche of musical numbers, Kavanagh’s performance gives the role depth beyond that which I thought possible. Again, director Levine is responsible for bringing out the very best in a cast comprised of tremendous talent, and Kavanagh’s “Peggy” is so engaging, so delightful and so well presented that I fell in love with her right then and there. Her performance builds to a great crescendo, culminating with the title song, and to put it simply, I was wowed. Sawyer’s leading man, Billy Lawler, (Zak Edwards) is really fun to watch, and Lawler’s voice soars to the rafters with such great clarity of tone that the audience roared along with me during his curtain call. The guy is talented beyond reproach and heightened each moment that he graced us with, backed up by the talented ensemble. Chiara Trentalange (Anytime Annie) is adorable, attractive, hilariously funny and engaging to a fault, and her chorus-girl cohorts are precious, amusing and sound oh-so-swell.

Matthew Lynn, Alex Drost, Steve Davis, and Abbey Sierakowski stand out in a field of stand-out performers, all of whom honestly left me breathless with joy, simply by having the opportunity to see this wonderful show that is riddled with great songs like “Lullaby of Broadway,” “We’re in the Money,” “Shuffle off to Buffalo,” and “You’re Getting to be a Habit with Me.” I’m sure I’ve left someone out, and for that, I apologize in advance, because each and every member of the cast deserves an ovation (and Sullivan County Tony Awards) of their own. If you’ve never seen a show at the playhouse, make it this one. I’m still smiling and I loved “42nd Street” so much, that I’ve coined a new word . It’s (wait for it...) Taptastic!

For reservations and information, call 845-794-1194 or visit www.fbplayhouse.org

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