Photo Credit: Cory MacPherson

Wright State University supplies a breezy and joyful production of the tuneful tap dance extravaganza “42nd Street,” Michael Stewart, Mark Bramble, Harry Warren and Al Dublin’s hokey yet engaging Depression-era love letter to musical theater based on the 1933 film of the same name.

Much of the success of this highly entertaining showcase, attractively designed by costumer D. Bartlett Blair and scenic artist Tamara L. Honesty, stems from the indelible influence of choreographer Rick Conant, who has staged numerous productions of “42nd Street” across the country and internationally specifically recreating the original choreography of the legendary Gower Champion (“Bye Bye Birdie,” “Hello, Dolly!”). From the rousing tap frenzy of the opening “Audition” and the circular fluidity of “Getting Out of Town” to the cheery exuberance of “We’re In the Money” and the carefree flair of “Lullaby of Broadway,” Conant winningly upholds Champion’s legacy without embellishment. He also seamlessly shares directing credit with Joe Deer, who astutely chose to produce the original 1980 script which is tighter and more succinct than the 2001 revival extraneously equipped with additional scenes/songs.

Conant and Deer’s wonderfully spirited cast is impressively headlined by amiable triple threat Alyssa Hostetler who was born to play Peggy Sawyer, the unassuming hoofer from Allentown, PA who becomes the saving grace of the Broadway-bound musical comedy “Pretty Lady.” Hostetler’s humility and naietve are pleasant attributes as Peggy faces her share of adversity, but her particularly fantastic tap abilities is a hallmark of the opening scene and remains a knockout. Valerie Reaper’s beautiful vocals add to the enjoyment of her deliciously biting yet vulnerable portrayal of aging diva Dorothy Brock. Reaper’s renditions of “Shadow Waltz” and “I Know Now” are as lovely as “About a Quarter to Nine” which she shares with Hostetler. Jason Collins, a firm baritone, is a natural fit as the demanding producer-director Julian Marsh, but he occasionally flubbed his dialogue at the performance attended which lessened Julian’s self-assured persona.

Further, terrific tenor Zach Cossman has slight difficulty balancing the charm and vanity within “Pretty Lady” leading man Billy Lawlor, but he is certainly smooth and debonair while leading the elegant “Dames” and winningly shares the spotlight with Hostetler in a captivating tap sequence during the title number. Hilary Fingerman and Joey Monda are naturally comedic and likable as Maggie Jones and Bert Barry, co-writers of “Pretty Lady.” Alex Sunderhaus, Darien Crago and Sarah Agar are respectively animated, endearing and vivacious as chorines Anytime Annie, Phyllis and Lorraine. Sunderhaus notably joins Monda for a very cute and playful rendition of “Shuffle Off to Buffalo.” Ian Blanco truly shines in “Audition” as choreographer Andy Lee. Alex Horton (Abner Dillon), Riley Able (Pat Denning) and Blaine Boyd (Mac) are solid in additional supporting roles.  Musical director Rick Church leads an outstanding orchestra.

If you’re looking for an upbeat escape featuring some of the finest dancing seen on any stage this season, don’t hesitate to buy a ticket to “42nd Street.”

42nd Street, which opened Thursday, May 12, continues through Sunday, May 29 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m. (May 18 only), Thursday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The Dayton Playhouse has a history of embracing challenges, but the organization overreaches and stumbles with a shaky season-ending production of Jerry Herman and Harvey Fierstein’s 1983 musical “La Cage aux Folles,” based on the 1973 play by Jean Poiret.

At its core, “La Cage” is a funny, touching and thought-provoking portrait of a family at odds, but it is also a bold look into a world of mystery, seduction and sensuality, pivotal elements missing in director Doug Lloyd’s dispassionate staging saddled with low energy. The titular St. Tropez nightclub specifically thrives on its entertaining chorus line of Cagelles yet the lukewarm individuals cast in the daring roles fail to typify the troupe’s “notorious” and “dangerous” reputation. Timidity and trepidation is not an option for the Cagelles, and although no one expects the Playhouse to produce an expert quality of drag on par with “RuPaul’s Drag Race” (did anyone tell Dayton’s own India Farrah about “La Cage” auditions?), their underdeveloped presence is problematic despite the effort. Without setting the proper tone at the forefront with credible Cagelles, towering examples of individuality and pride defiantly proclaiming “We Are What We Are,” “La Cage” simply loses its identity, morphing into a show that is more about costumes than character.
Even so, the production is primarily and respectively kept afloat by the admirable, witty contributions of Michael Boyd and Richard Croskey in the central roles of La Cage owner/emcee Georges and his female impersonator lover Albin. Croskey, particularly appealing as the flamboyant drag queen Zaza while delivering the saucy title number and the riveting anthem “I Am What I Am,” provides big laughs early in Act 2 when Albin is encouraged to discover his masculinity. This duo establishes a compatible bond and convey genuine parental concern when Georges and Albin’s son Jean-Michel (Zach King) announces his engagement to Anne Dindon (Sarah Parsons), the daughter of unabashedly conservative parents.
In notable featured roles, King, so wonderful ushering in “Springtime for Hitler” in the Playhouse’s marvelous production of “The Producers” last summer, struggled vocally at the performance attended, but is well paired with the winsome Parsons and effectively reiterates Jean-Michel’s insistence that the Dindons meet his parents in the traditional sense by requesting the presence of his estranged birth mother Sybil. Duante Beddingfield is a prime source of comic relief as the fussy Jacob yet his excitable nature  feels out of sync because of the off-kilter dynamic among the cast. At the same rate, due to the show’s sheer unevenness, Jeff Campbell and a particularly terrific Karen Righter are able to steal the show as the uptight Edouard and Marie Dindon. Chris Hammond is very engaging as the bubbly Jacqueline.
Elsewhere, set designer Chris Harmon offers one of his most colorful, efficient creations. Choreographer Stacy Gear’s routines are intended to be lively, but lack zest in execution. Stephanie Dickey, Karen Dickey and Kaitlyn Osborn are responsible for the costumes. Music director Ron Kindell leads a steady off-stage orchestra.
This “La Cage” is underwhelmingly stuck in neutral, reticent to truly sparkle and come alive, but perhaps all involved will coalesce to embrace and simply sell the delightful musical theater magic within the material before the production must sashay away.

La Cage aux Folles, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 65 minutes. Tickets are $10-$15. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org. In related news, the Playhouse’s 2011-12 season will consist of Jekyll & Hyde, Abie’s Irish Rose, Scrooge, Nunsense, Bus Stop and The Sound of Music.