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Adagio Teas
   Features  >  NY Theater Reviews

at the Lyric


  Jay Armstrong Johnson and Alysha Umphress/ Ph: Joan Marcus

At the age of 70, On the Town was revived on Broadway this fall, and it seemed a lot fresher and more entertaining than a slew of tired, long-running musicals that have been populating the Great White Way for years and years. This classic musical, with a large, first-rate cast, full orchestra and lively staging, will charm its way into your heart. It is at the Lyric Theater on West 42nd Street.
When On the Town debuted in 1944, it was a breakthrough show that went on to being a hit MGM musical movie in 1949 with Frank Sinatra, Gene Kelly and Ann Miller. The initial Broadway troupe had a remarkable roster of young creators, all in their 20s. The show began as an “idea” from Jerome Robbins, who would become a renowned choreographer-director. He had come up with the idea of a ballet called Fancy Free about three World War II sailors on a day’s leave, searching for girls in New York City.
Robbins got the composer and conductor Leonard Bernstein to create the ballet’s music. A year before, Bernstein had brilliantly replaced the ill conductor Bruno Walter at a New York Philharmonic concert, and became an instant music celebrity. Fancy Free was a ballet success, and still is today at ballet companies around the world.
Robbins thought his idea could be turned into a musical comedy. He got Bernstein to write a full score and asked two nightclub performers – Betty Comden and Adolph Green – to write the musical’s book and lyrics. Comden and Green would go on to write movies like Singin’ in the Rain and Broadway shows like Wonderful Town, again with Bernstein. 
Later, the group convinced the legendary director George Abbott, who at 57 was the elder in the group, to stage the show. These rookies knew enough that they needed an extraordinary hand to settle their battles and give the show a sense of theatricality. Off-stage, Abbott said that the show appealed to him because the creators were “so eager, emotional and enthusiastic.” He also wondered if they were all a little nutty, gambling their large talents on the cruel wilderness of a musical theater venture. Of course, it turned out to be a landmark career winner for all involved.
A couple of summers ago, some new theater smarties, director John Rando and choreographer Joshua Bergasse, decided to try their hand at On the Town at the Barrington Stage Company in Pittsfield, Massachusetts. This turned out to be the genesis of the current production. Rando was able to capture the show’s youthful exuberance and channel it through to the young actors, and Bergasse was able to graft the dances and ballet sequences in the spirit of Robbins.
If the show has a leading man, it is Gabey (Tony Yazbeck), the romantic sailor of the trio. Ozzie (Clyde Alves) is the clown, somewhat irresponsible, and Chip (Jay Armstrong Johnson) is the sensitive one. They are out on a 24-hour venture. On the subway, Gabey sees a picture of Ivy Smith as “Miss Turnstiles” and decides he wants to meet her. His two pals offer to help him out, and each one goes in a different direction on their search. 
At the Museum of Natural History, Chip meets up with Claire (Elizabeth Stanley), who seems like a serious anthropological student until she gets emotional with the song “I Get Carried Away” and almost destroys the museum’s tyrannosaurus exhibit. Ozzie meets a hilarious woman taxi driver, Hildy (Alysha Umphress), who seems like a nice, wacky match for him, and who gets to sing the comic song “I Can Cook Too.” 
Finally, Gabey finds his “Miss Turnstiles” Ivy Smith (Megan Fairchild) on his own at Carnegie Hall, where she is taking a singing lesson from gin-guzzling coach Maude P. Dilly (Jackie Hoffman). Fairchild, who is a principal dancer at the New York City Ballet, turns out to be not only a good dancer, but also a fine comedienne and actress. She shines in her dances choreographed by Bergasse, which is a combination that threads ballet sequences with Broadway dances, and which Fairchild handles with great flair.
The big treat is getting to listen to Bernstein’s music being played by the large orchestra. His music turns out to be far superior to most of the Broadway scores we have heard over the past decades. As one critic said, Bernstein’s music is music, not just imitation or pastiche. Here, he combines the music with the lyrics of Comden and Green, and is able to translate their lyrics into fresh new sounds. This is an amazing feat when you think this was Bernstein’s first Broadway score. 
You will hear some of the richness that will later appear in his West Side Story. You will hear it in the raucous sounds of the city in “New York, New York.” But he also shows a skill for writing haunting and melodious ballads in two of Gabey’s songs, “Lucky to Be Me” and “Lonely Town.”
On the Town is an effulgent and dazzling reminder of what Broadway musicals used to be like.


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