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• "On the Town" Review

  • Civic Theatre presents rousing 'On the Town' 

    Friday, September 17, 2004
    BY JENN MCKEE 
    News Arts Writer 

    
    If the iconic Life magazine image of a jubilant World War II sailor kissing a woman suddenly sprang to life, the two would fit seamlessly into the Ann Arbor Civic Theatre's ambitious production of "On the Town." Director Emily Perryman deliberately crafted the show intending to capture the look and feel of that era. 
    
    The show, with music by Leonard Bernstein and book and lyrics by Betty Comden and Adolph Green, features three sailors on 24-hour leave in New York. Though Chip (Brandon Cave) wants to see the sights and Ozzie (Dann Smallwood) wants to meet women, they both sacrifice their plans to help their friend Gabey (Timm Gillette), who's fallen in love with a woman on a subway poster. The three split up to find her, but Chip gets distracted by wisecracking cabbie Hildy (Caitlin Frankel) while Ozzie gets primal with anthropologist Clare (Joy Martin) - though she's engaged to another man (Glenn Bugala). 
    
    Gabey, meanwhile, finds Miss Turnstiles, Ivy Smith (January Provenzola), and the two arrange a date. But Ivy's job duties interfere, causing Gabey to make one last desperate attempt to see her. 
    
    The Civic cast's vocal performances are impressive in terms of accuracy, but on opening night, some actors' lack of projection, as well as microphone problems, marred a few songs wherein soloists sang with ensemble accompaniment. "New York, New York," for instance, the show's rousing signature song, lost whole verses because lyrics couldn't be heard. At other times, solo microphones failed. 
    
    These minor issues aside, however, there is much to admire - and even love - in this production. At or near the top of this list is Frankel, who exudes Hildy's aggressive sexuality by way of body language and a street-smart demeanor. Indeed, one of the show's highlights is Hildy's first scene. She lures Chip into her taxi, then all but mauls him while singing "Come Up to My Place." Not only is Frankel's outstanding voice shown to full advantage (as is also true for the fabulous "I Can Cook Too"), but her comic timing, as well as her utter abandon, transforms a cute scene into a hysterical one. 
    
    All six of the production's leads have considerable strengths. Gillette, for instance, is a strong actor and has wonderful presence; Martin has an impressive vocal range; and Provenzola raises the bar for any dancer who shares the stage with her. The large ensemble, meanwhile, is energetic and skilled, adding a great deal of genuineness to the show. 
    
    Another major contribution, however, involves Leo Babcock's terrific set design. "On the Town" is a challenging production in part because of its multiple and elaborate locales (the Natural History Museum, Central Park, Carnegie Hall, Coney Island, etc.). Yet Babcock's sets are amazingly detailed and functional, evoking each place indelibly. 
    
    Additionally, the cast's costumes and hairstyles ring true, but clothes serve a second function: atmosphere. The ensemble wears blacks, whites and grays, but also colored accents (belts, hats, ties, gloves) to give the subtle impression of a black and white photo with tints, and the effect is visually striking. (However, though Hildy and Ivy dress in strong colors to highlight themselves, Clare wears pale lavender, causing her to blend into the ensemble at times.) 
    
    Lastly, Perryman's excellent choreography - and this show calls for loads of it - incorporates many elements of 1940s swing, and her use of the stage, particularly in the large-scale dance numbers, makes the show resemble a celebration. Only during the long Coney Island dream ballet does the otherwise high energy dip. 
    
    "On the Town"'s bottom line, of course, is that it's downright, laugh-out-loud fun. The Civic's cast and crew have achieved much by aiming high.