When a show opens on Broadway, most of the glory is given to the on-stage talent. On The Town certainly has more than its fair share of exceptionally gifted triple threats gracing the stage, but from the first downbeat it is clear that theatergoers are in for a particularly special treat because under the stage are 28 of New York's finest musicians - more than double that typically employed for a Broadway show. There are few things rarer and more theatrically delightful than the experience of hearing a musical theater classic performed with a full orchestra and under the baton of music director James Moore the On The Town orchestra brings Leonard Bernstein’s Broadway debut score to glorious life with all the richness it deserves.
On stage, a powerhouse sextet of principals, Tony Yazbeck (Gabey), Clyde Alves (Ozzie), Jay Armstrong Johnson (Chip), Megan Fairchild (Ivy), Alysha Umphress (Hildy), and Elizabeth Stanley (Claire) lead a company of phenomenal performers. Each is a standout talent in their own right but at the front of the pack is Yazbeck, a dynamic 21st-century song and dance man with the essence of an MGM era screen idol. His sexy, lithe and powerful execution of Joshua Bergasse's Jerome Robbins-influenced choreography hits exactly the right note for a romantic sailor-on-leave and his vocal chops are stellar particularly in his heart-breaking rendition of "Lonely Town".
Originally conceived as a musical adapted from Jerome Robbins’ ballet Fancy Free, On the Town is as much ballet as traditional musical. With a long reputation of being stamped with Jerome Robbins’ iconic style, it is a tall order for any contemporary choreographer to step into and make it their own. What choreographer, Josh Bergasse (Smash) does is nothing short of sublime. His highly successful integration of Jerome Robbins’ dance language into his own vision creates an anchor that ties together the story, even when the book shows its awkwardness. The only criticism may be that there is so much of it. My understanding is that this production made few if any cuts to the complete score.
Director John Rando's concept is bright and fun. But what did surprise me was how contemporary it felt. Written in 1944, On The Town is a story from a time before the sexual revolution, before television censors allowed married couples to be shown sleeping in the same bed (I Love Lucy). This story of three Navy men on 24 hour leave in New York City at the height of World War II, hoping to make a love connection that will inspire them to survive the imminent atrocity, had the potential to be rather risqué material for its own time. The original writers bridged that gap through lyrical subtlety, innuendo, dance, and musical gesture thereby successfully crafting a smoldering sexuality over top of the terrifying reality of war. This production however, is not hampered by the sexual mores of the mid-twentieth century and takes a more overt approach to sexuality and sexual intention. It permits the audience to know about what was once just implied.
On The Town, music by Leonard Bernstein, book and lyrics by Betty Comden and Adolph Green, based on an idea by Jerome Robbins, is directed by Tony Award winner John Rando, choreographed by Emmy Award winner Joshua Bergasse (Smash), Music Direction by James Moore and Stage Management by Bonnie Becker, stars Tony Yazbeck, Jay Armstrong Johnson, Clyde Alves, Alysha Umphress, Elizabeth Stanley, Megan Fairchild, Jackie Hoffman, Michael Rupert, Allison Guinn, Phillip Boykin, and Stephen DeRosa. It officially opened at the The Lyric Theater, 213 West 42nd Street on Thursday, October 16, 2014
