By Alix Cohen
The work of thirteen Broadway choreographers is here showcased in a series of numbers accompanied by full orchestra. Though singing is less polished, dancing is predominantly top flight. Each show is announced with projected credits and context.
Stand outs include:
“All I Need is the Girl” (Gypsy 1959- Jerome Robbins, choreography) in which Tulsa (Drew Minard) shares his dream act with the besotted Louise (Deanne Doyle), is charming. Minard sings, dances, and acts well, imbuing his character with youthful ambition and oblivious ego. Doyle’s facial expressions are dear. Infectiously drawn to him, she dances as if magnetized.
Brandon Burks, Kate Louissaint, Ahmad Simmons
Stepping in to lead “The Contact Suite” (Contact 2000- Susan Stroman, choreography), Keely Beirne is sensual, sharp-edged, and smooooth. Kate Louissaint’s vocal of “Sweet Georgia Brown” (Bubbling Brown Sugar 1976- Billy Wilson, choreographer) is well performed, though choreography is nothing to write home about. Louissant, Ahmad Simmons, and Brandon Burks are nonetheless a pleasure to watch.
Both Brandon Burks and RJ Higton present superb tap in the infectious “Tongue Twisters” aka “Moses Supposes (Singin’ in the Rain 1952 – Gene Kelly/Stanley Donen, choreography). Though it would enhance to have the Donald O’ Connor character play it a little dopey, the dancers are enthusiastic and precise.
The company’s “Cool” (West Side Story 1957 – Jerome Robbins choreography) with Drew Minard as Riff, is great to see again. Individual pop-outs erupt (Cole Newburg is grand.) Dancers’ expressions suit the mood. To the directors’ credit, attitude is always present.
Deanne Doyle & RJ Higton
“I Love a Piano” (Irving Berlin’s White Christmas 2008- choreography, Randy Skinner, restaged by Sean Quinn) arrives another great tap number featuring singer/dancer Brandon Burks. Have you noticed how good tap dancing always evokes a smile?
“An American in Paris” pas de deux ( An American in Paris 2015 – Christopher Wheeldon, choreography – associate for restaging- Dustin Layton) is a highlight. Dancing and choreography are both just beautiful. Sara Esty (in pointe shoes) and Barton Cowperthwaite deliver every bit of the deep romanticism innate to movement and music.
Jessica Lee Goldyn’s “The Music and the Mirror”, preceded by dialogue, is both vocally flat and physically weighty. (A Chorus Line 1975- Michael Bennett/Bob Avian, choreography- restaged by Donna McKechnie) Goldyn fares better in Act I with “City Lights”
(The Act 1977- Ron Lewis, choreography)
The show ends with – what else?- “One” (A Chorus Line 1975 – Michael Bennett/ Bob Avian, choreography – restaged by Baayork Lee) There’s almost no way for this number not to be thrilling, but lack of glitter and shine dims it .The company does an admirable job.
Sara Esty & Brandon Cowperthwaite
Directors Nikki Feirt Atkins and Randy Skinner keep the show moving nicely, stage with aesthetics, and see that dancers focus.
Projected Scenic Design (Noah Glaister) is terrific- attractive, evocative, apt. Only the ersatz fan in the background of “One” fails to sync with style.
Marlene Olson’s Costumes are unattractive, often ill fitted, and cheap looking.
Lighting (Ken Billington/Anthony Pearson) works well in every number
Photos by Christopher Duggan
Opening- The Company- West Side Story
GOTTA DANCE!
With American Dance Machine
Conceived by Nikki Feirt Atkins
Directed by Nikki Feirt Atkins & Randy Skinner
Stage 42 422 West 42nd Street
