norules-nolights.com
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42nd Street: Spectacular Production from Theatre Sarnia by Brian Hay The first thing that was obvious was that the band was great. The twelve-piece ensemble (The Bluewater Big Band) playing under the Direction of (Musical Director) Tim Hummel was as sharp as a group can be. They played with verve, panache and tightly controlled aggression. They let the brass wail. The winds got down and dirty. The Rhythm Section of Andy Lloyd (Bass) and Tim Nicholls (Drums) drove them like the engine from a Ferrari would have. Drummer (Tim) Nicholls hit his notes right in the middle. It was a glorious sound to hear. They played the Overture behind a montage of period projections set up by Frank Canino. It set the mood for the evening beautifully. The opening of the curtain revealed a magnificent set. Walt Farr's concept was ingenious. It left the band in plain view but created a sense of separation from the rest of the performers. It left plenty of space for props. It gave the dancers room. It gave the Lighting Designer an area to work. Brian Austin Jr.'s lighting was a model of subtlety and efficiency. The band was lit in a way that kept them partially shrouded. The chorus lines were lit vividly but less so than the performers in the foreground. An assortment of spotlights was used to lead the eyes to the focal point of the action. The wardrobe, scene transitions and sound were equally impressive. Norma Wenning and Holly Mayea did a magnificent job of creating the look of the period. They also did a fantastic job of co-coordinating an array of costume changes. The transitions between the scenes were seamless. Bill Allingham ran that facet of the production like a well-oiled machine. Sound Designer Dan Tidball and Assistant Pam Wong did a fabulous job of maintaining the balance between the actors and musicians. The sound was clear even during the largest ensemble pieces. Choreographer Shirley Schram did an astounding job of setting up the dance numbers. They flowed beautifully. The dancers moved as a cohesive unit. The routines varied widely. Even the "flubs" that happened during portrayals of "rehearsals" looked spontaneous. Director Henri Canino had the pacing set up beautifully. She also did an excellent job of keeping the story from becoming submerged by the action. The performers were great. Their singing was strong. Their acting, when needed, was good. Their dancing was excellent. There are too many people to name here but there were a few standouts. John Worthington sank his teeth into the role of "Director Julian Marsh". Stephanie Smith captured the good hearted but street-wise character of "Maggie Jones" well. Tim Barry did a good job as the impatient (and often surly) Dance Director "Andy Lee". Andrew Colbourne was excellent as the nice guy tenor "Billy Lawlor". Holly Mayea did a brilliant job of portraying both the ego and the heart of "Dorothy Brock". And Tia Colbourne was fantastic as "Peggy Sawyer". This lady can sing and dance. Theatre Sarnia reached a new level with this production. Their work is generally very good but this is something else. They made the music of Harry Warren and Al Dubin sparkle with life. The level of polish they achieved is comparable to what's expected of a professional production. But the joy they brought to it is something that can only be found among people who are doing something because they want to. It was a wonder to behold. Producer Carol Kennedy did a magnificent job of bringing it all together. Don't think twice about it. Just see this production. Theatre Sarnia's production of "42nd Street" by Michael Stewart and Mark Bramble runs at the Imperial Theatre from November 13 through November 15, 2009 and again from November 18 through to November 21 2009. This review pertains to the performance they gave on November 14, 2009. This line acts as a spacer. |
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