This fall, one of America's greatest musical comedies is docking at Broadway's beautifully restored Lyric Theatre in the heart of Times Square! With the biggest orchestra on Broadway and a 30-member cast of New York's most talented singers and dancers, ON THE TOWN tells the story of three wide-eyed sailors on a whirlwind musical tour of the city that never sleeps. With just 24 hours of shore leave, they're eager to experience all that New York City has to offer... including a chance to discover love with the girl of their dreams.
Directed by Tony winner JOHN RANDO (Urinetown, A Christmas Story) and choreographed by Emmy winner JOSHUA BERGASSE ("Smash"), this big, brassy musical comedy features a beloved LEONARD BERNSTEIN score, lyrics by COMDEN AND GREEN, and breathtaking dancing inspired by the original JEROME ROBBINS choreography. Arriving on Broadway following a critically acclaimed out-of-town run, ON THE TOWN is "one of those rare revivals that remind us what a hit show was originally all about" (The New York Times). Come see what all the buzz is about, and spend a spectacular evening...ON THE TOWN!
A New York City Ballet principal, [Megan Fairchild] is known for her sparkling footwork. Here she displays unexpected comic finesse, especially in her voice-lesson scene with Madame Dilly, one of many cartoon roles mastered by Jackie Hoffman. If Fairchild's acting lacks projection, especially compared to the other two female leads -- Alysha Umphress as Hildy and Elizabeth Stanley as Claire -- she compensates during the dance numbers. The choreography, by Joshua Bergasse, is inspired, though Robbins would have cracked the whip harder on the ensemble during the door-slamming number. All three male leads blend sweetness with virility. Clyde Alves is a swaggering Ozzie, Jay Armstrong Johnson a pratfall-mastering Chip, and Tony Yazbeck a deservedly centre-stage Gabey.
Bergasse's routines, even at their most irresistibly dizzy, reflect Robbins' emphasis on storytelling and expression of character. This is especially crucial in the ballet sequences, showcases for Fairchild - and the hyper-talented Tony Yazbeck, who plays Gabey - that grow darker and more emotionally rich as the production spins toward its surprisingly unsettling, riveting climax and bittersweet conclusion. Beowulf Boritt's playful, imaginative scenic and projection design and Jason Lyons' vivid lighting deserve mention as well. The New York they create is mythical and old-fashioned but, like the flawed, yearning characters who sometimes wander among us, strangely familiar and accessible. Great musical theater doesn't require total escapism, after all, any more than unconditional happy endings.
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