Riedel on 42ND STREET Revivals Eyeing Broadway — Page 3

I saw the production at the Ordway and the one in Chicago.

The Ordway production was sort of a Drury Lane 2.0 version with many of the key showstopping moments in tact (like the unforgettable Act 1 finale) while others were totally redone. Looks like E. Sosa redid most of the costumes too and while some were improvements overall I liked the ones in Chicago more. Emick made more sense to me as Julian Marsh than the guy in Drury Lane but Tunie wasn't as strong a Brock as her Chicago counterpart (bless her heart, she was sick on closing night and gamely pushed through the show). The Peggy Sawyer, Billy Lawlor, and a few ensemble members were brought in from the Chicago production -- Peggy especially was dynamite.

Overall, I liked the intimacy of the Drury Lane production but the Ordway version felt like an attempt to see if the show would work as a flat proscenium presentation. In a sparse season with a lot of vacant theaters, it's strange this couldn't sneak in there. The book will always be thin but the dancing more than makes the price of admission worth it. Like I said, the finale of Act 1 is really incredible.

Here's my take:

I saw the revival in the fall of 2002 ( my 2nd Bway show). Changed me. This was to me, the epitome of Broadway. 17 years later, I'm still loving the colors, scenic design, costumes, etc. But, without any NAMES leading this time, it certainly appears (like others have said), just a dusted off version.

Compromise? I remember when I returned to NYC in the spring of 2004, at the time Shirley Jones was in the role of Dorothy Brock and Patrick Cassidy played Julian Marsh.

Maybe don't have such a HUGE cast, throw it in the Jacobs Theatre (1101 seats) vs the 2000 revival (Lyric Theatre 1829 seats) and cast BIG NAMES for the show. Hell, make it a limited engagement and cast Harry Connick Jr. as Julian Marsh & Glenn Close as Dorothy Brock.

That Oakbrook production sounds fascinating. Love the idea of infusing this show with contemporary pop styles because the sound of Warner Bros. musicals of the '30's were very much about sounding here-and-now. Such an approach likely wouldn't work for shows like Carousel or Fiddler on the Roof, but it could work here (I'm also a fan of the rock/pop oriented Red, Hot + Blue recording created for for HIV awareness back in the '90's.)

greensgreens said: "I did see the Ordway version and, I am still surprised to say, it was pretty awesome!Jarrod Emick made a welcome return to the stage as Julian (wish he had more singing), Tamara Tunie was serviceable, some strong performances in supporting roles. I don't remember who played Peggy, but she was simply amazing.

I can't even imagine how the production would work without a proscenium setup. The big finish alone where Peggy tapped her a** off and then they lifted the curtain to reveal a four-level set filled with dancers to hoof it as a group - and Peggy kept speed - was the most thrilling thing I've seen in a long time. The production somehow found a way to deliver a somewhat non-traditionalproduction while still fulfilling all the promises the title makes to audiences (big dance spectacles).

However, it could still not overcome the problem that the plot is so thinand SO predictable (and frankly overdone at this point). Great visuals, good performances, amazing dancing, and lovely new orchestrations; but you've still got the essential problems that would require a complete revision of the script."



I was a dresser on the Ordway production, Peggy was played by Kimberly Immanual.

The end of the act was "We're In The Money." It was a HUGE dance number with large gold metallic confetti discs falling throughout much of the number - and they tapped in dishes of coins, which was pretty unique and thrilling! There was even a pre-show warning about how you may need to look for flying coins! Definitely the most successful "reinvention" of the show! The re-orchestrations were a dead rip-off of Katy Perry "Firework," which turned it up quite a few notches and certainly helped this show engage with some younger audiences.

My one complaint, and it is the same for many B'way shows, is that appropriate drum programming is not done. If you're going to go for a modern sound - you need modern drums. Those come from machines, not live players. The problem for many shows is that the acoustic drums play along with with the drum machines, but are not toned down enough for the electronic beat to step to the forefront of the music, like it does in modern pop/dance. I know it's antithetical to live orchestration for a show and tradition, but if you can't replicate those beats, the numbers just sound cheesy and half-hearted. It always reminds me of when an awards ceremony in-house orchestra plays their rendition of a pop song. It just sounds... off and campy. I can't think of many shows that I have heard really replicate the electric sound of modern pop well - Here Lies Love was pretty good! Starlight Express is sadly the best example I can think of (especially the modern German recordings), although Starlight always had at least a Fairlight in the pit. I have high hopes for SIX, as the drums on the studio album sound pretty close to authentic pop/dance, but I don't know about the live orchestrations.

morosco said: "BTW the Drury Lane production will be broadcast on PBS Great Performances on November 1st."

False. The London Palladium production will be broadcast, which is similar to the 2001 Bway revival (directed by Mark Bramble and choreographed by Randy Skinner). The Chicago production was not filmed.

Sorry guys. My bad.