Members of the cast of the Downey Civic Light Opera’s production of ‘42nd Street’ dance on large dimes during the ‘We’re in the Money’ number, in the dance-loaded musical now playing at the Downey Civic Theatre, 8435 E. Firestone Blvd. (Photo by Rali)
Story Created:
Jun 3, 2009 at 6:14 PM PST
Story Updated:
Jun 3, 2009 at 6:14 PM PST
DOWNEY — The pit band, under director Eddy Clement, strikes up a lively tune and the opening curtain begins to rise — then stops about two to three feet up and for some 30 seconds or more all the audience can see is about 35 pairs of dancing feet.
It is a pretty good indication that the musical “42nd Street,” staged by the Downey Civic Light Opera, will feature dancing and that its choreographer, Gitana Van Buskirk, was kept busy.
The production continues this weekend, then again June 12-14 at the Downey Civic Theatre, 8435 E. Firestone Blvd.
Always charming and stage savvy, Executive Director Marsha Moode has put together another ensemble of talented performers from throughout the Los Angeles area who can sing and dance. There are 18 members of the main cast and another 18 members of the ensemble with various ages and ethnic backgrounds in keeping with Moode’s tradition of giving as many people as possible a chance to participate in live theater.
“42nd Street” is the stage adaptation of the 1933 movie musical of the same name.
A talented young performer from the sticks comes to New York City hoping to hit it big and gets a job in the chorus of a new play being rehearsed on her first day.
The young newcomer is helped by friendly chorus girls but runs afoul of the older “star” of the show. Of course, the star at the last minute can’t perform, the newcomer is rushed in and saves the day after learning all the songs and dances in 25 hours.
The songs, by Harry Warren and Al Dubin, are familiar, including “You’re Getting to Be a Habit With Me,” “We’re in the Money,” “Lullaby of Broadway,” “Shuffle off to Buffalo,” and the main production number, “42nd Street,” has an interesting back set of New York City.
Leads are shared with Bill Lewis as the producer of the play, Peggy Sawyer as the newcomer, Charlie Nash as her suitor and Charlotte Carpenter as the older “star” who in the end is rooting for the new girl to succeed. All do well with their various singing and dancing assignments.
However, the most interesting is veteran performer Ann Peck McBride, at her bawdy best as Maggie, one of the show’s writers with George Champion as Bert, the second writer.
Moode, as usual, has inserted some Downey originals in the local production.
“I expanded the parts of Maggie and Bert [from the original book by Michael Stewart and Mark Bramble] and inserted a duet between Carpenter’s character and Glenn Edward, who played a small but important role as the “star’s” former dancing partner. They of course get back together at the usual happy ending.
“I wanted to emphasize they the two were former partners,” Moode said.
The finale, “42nd Street,” was extensive and well done but a cute shorter number had McBride and Champion going on their honeymoon to Niagara Falls in a train sleeper car to the song “Shuffle Off to Buffalo.”
The train prop had eight curtained compartments, four on top and four on the bottom, containing one of two chorus girls who are startled when Champion opens the curtains looking for the compartment of his bride, McBride.
Think of the joke board and all its windows on “Laugh In.”
Moode, noting that the depression era play was picked last year before the economy tanked, suggested that area residents forget their financial woes and other problems and drop in for a few laughs, tuneful songs and high-powered dancing.
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