Maya Angelou wrote, “The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” For almost two years we were homeless; without our “safe place”. As we all settle into the “new norm”, Beth Tfiloh Community Theatre has given us a taste of the past, sprinkled with hope for the future, and laced with the safety of home. Theatre is back! And Beth Tfiloh’s production of 42nd Street, directed by Diane M. Smith, ends Baltimore’s theatre draught with a refreshing shower of unforgettable greatness.
The set, designed by Smith and Evan Margolis, worked well within the playing space. The minimalization of static pieces allowed for the rolling on and off of some very creative pieces. Dassi Cohen and her stage crew did an incredible job moving the big pieces and keeping the show flowing. What really stood out though was Smith’s use of projections. Not only did the projections work extremely well, like the backstage scenes, but they also moved with the story. As actors transitioned from the rehearsal space to the train station for example, the audience was given a guided tour of the route. This minimalized the dead time and brought the audience even further into the story. Genius!
Music Director R. Christopher Rose had his cast so in tune that you would have thought he’d written the score. Every word, either from soloist or ensemble, was clear, crisp and melodious. There is a bit where a baritone has a high note and it is handled wonderfully. I personally have never been to a show musically directed by Rose that was not top notch. Bravo sir!
What do you do when you are tasked with choreographing a show that is very dance heavy? Why you hire two very good choreographers! Rachel Miller and James Hunnicutt keep the cast moving and the audience dancing in their seats. The choreo was bright, vibrant, and very well designed for the space. From the opening of the Auditions number you a captivated by the dancing. The joy of it all was that it seemed like each dance break was better than the last, and you are left wondering how that was even possible. It was simply that good!
In any dance heavy show the choreographer is always happy to have one or two stand out dancers to allow them to showcase more and to act as dance captains. Miller and Hunnicutt were blessed with many talented dancers. Miller, Emily Signor, Carly Dagilis, Ava Correlli, Ryann Reich, Julia Egan, Maytal Fleisher and Emily Machovec as featured tap dancers are a powerful group. Each number was entertaining and on point. They operated as if they were one unit and they seemed to feed off of the audience’s enjoyment, making each number all the more special. Adding to the enjoyment were the bright faces of Signor and Dagilis. It makes one question if there is anything they don’t do with a smile on their faces. Besides Signor and Dagilis’ smiles and board toeing talents, Miller and Machovec added a certain joist to the group. Their precise, elegant movements showed their experience and blended well with the group.
One person though had me reaching for my program to find out more about them: ensemble member Ryan Holmes. This man is a show within the show. My only regret was that we didn’t get enough of him. When he was paired up and moving about the stage you could keep your eyes from him. Unfortunately, much of his time was spent in the third row.
Brian Singer (as Julian Marsh) was perfectly cast. He fully enveloped his role and kept your attention when on stage. He fluently transitioned between greedy, pompous, director, to a man who was almost human. One of the things I loved about Singer’s acting was that he swung just in between the two sides of himself. He never let the audience know if he really felt sorry for Peggy or if he was just using her to line his pockets. Speaking of pockets, for as pleasurable as Singer was to watch, he spent most of the show with his hands in his pockets. When he sang, he was hands free, and his rich tone rang out through the theatre.
It takes someone who can fill the stage to play Dorthy Brock and Cheryl Campo’s larger than life performance nailed it. Her comedic timing and portrayal of the over-the-top diva was only outdone by her singing. Just when you thought you have heard the apex of the singing, along come Hannah Elliott (as Peggy Sawyer), Matthew Trulli (as Billy Lawlor) and Lizzie Jaspan (as Maggie Jones). Every note from Elliott is flawless and captivating. The give and take in her duets showed a true understanding of collaboration. Trulli is an amazing tenor that leaves us baritones, well, not liking tenors. There are plenty of tenor jokes in the show so that made me happy. Trulli can do things with his voice that leave the rest of us in awe. If I am ever having a bad day, I would love Lizzie Jaspan to come sing to me. She has a bright voice like a ray of sunshine. Her trek to and subsequent song in the restaurant is memorable.
This is an amazing cast and a show that is not to be missed. It’s not often that 42nd Street is performed and once you see this dance intensive, beautiful performance you will understand why. There are two more people I’d like to recognize. The first is Ryann Reich (as Andy Lee) who you could tell put in a ton of work. Reich was extremely convincing as the dance director for Pretty Lady, the show within the show. Her reactions to Singer are funny, and yet you can see the serious side as she is teaching the cast. Finally, I’d like to thank Dr. Zipora Schorr for allowing the show to go on and allowing us to return to our safe space, as we are, without being questioned.
42nd Street, a Beth Tfiloh Community Theatre Production, plays through August 4, 2021 in the Mintzes Theater of the H. Morton Rosen Arts Center on the campus of Beth Tfiloh— 3300 Old Court Rd in Pikesville, MD. For tickets call the Box Office at (410) 413-2417 or purchase them online.
