Review: 42nd STREET Shuffles Off to Wausau

The tour of 42ND STREET recently performed at Wausau's Grand Theater. But despite its many virtues, 42ND STREET never really "clicked."

For those unfamiliar with 42ND STREET, it is a big, dance-intensive musical that debuted in 1980 and was revived in 2001. Though it is not the oldest musical out there, it certainly has a vintage feel. It was based on the 1933 movie and 1932 book of the same name.

It follows a small town girl who moves to the big city to become a star. She gets her break (ironically, due to an unfortunate ankle break), but along the way, there are some challenges and romance.

42ND STREET'S main virtue is certainly its massive dance numbers. The cast is huge (over 30 people), and when they pour out onto the stage and dance in unison, you'll feel every bit of the razzle dazzle musical theater is known for. The dance numbers are also quite clever - from shadow play to dancing on giant dimes, each number has its own distinct identity. The tap numbers are particularly remarkable, making 42ND STREET a great show for tap fans. Not a tap fan? Don't worry - you'll be reformed within the first two minutes of the show.

The cast is also impressive. Caitlin Ehlinger (as Peggy Sawyer) and Blake Stadnik (as Billy Lawlor) segue from dancing to singing seamlessly, often without any real pause to catch their breath. Matthew J. Taylor (as Julian Marsh) and Kaitlin Lawrence (as Dorothy Brock) both showcase their powerful voices. Britte Steele (as Maggie Jones) cracks up audiences with her exceptional comedy chops.

The band is also notable. Generally, if a production goes well, many audience members won't notice the band at all. However, there are many exposed parts in this musical, and the band always sounds terrific - the pitch, intonation, and dynamics are spot on.

But despite its many strengths, 42ND STREET fails to deliver on all its potential.

One major gaff with the touring production is the microphone system. There were several incidents where the microphones were not turned on for dialogue. When the mikes were on, the volumes were often too soft to understand the dialogue...and I was in the second row. One can only imagine what the folks in the balcony must have heard (or in this case, missed entirely).

The set is also somewhat lackluster. Much of the show relies on backdrops. During one scene, the backdrop not only wobbled in the breeze, but actually moved from side to side.

Additionally, the show itself isn't all it could be. The song "Dames" features the line "Who cares if there's a plot or not?" This is a good question to ask yourself before you decide to see the show. 42ND STREET lacks a strong plot, and very few songs advance the plot. Instead, most of the songs are part of the show within a show, "Pretty Lady," which also seems to be mostly devoid of plot. Perhaps consequently, it is difficult to really connect with any of the characters.

Even the bows will leave you scratching your head. The final bow is reserved for Matthew J. Taylor (as Julian Marsh). While he has a phenomenal voice, it was unclear for the duration of the show that he was even the male lead as Blake Stadnik (as Billy Lawlor) seemed a contender. Meanwhile, Caitlin Ehlinger (as Peggy Sawyer) is featured much more and plays a more fully fleshed out character - one could naturally assume that the final bow should be hers. Is there some other reason for this curious bow order, or is the patriarchy alive and well in musical theater?

Overall, the show is worthwhile and enjoyable for the spectacular dance numbers, but it still leaves much to be desired.

Side note: At this performance, the Grand Theater offered a pre-show reception for season ticket holders which was an appreciated treat. THRIVE Foodery in Wausau catered the event featuring delicious and innovative dishes. Compliments to the chefs!

Photo Credit: Chris Bennion

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