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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (April 21, 1999)
i Battalion Aggielife Page 3 • Wednesday, April 21,1999 Womes s practitt olo fields ig lot. fe| yone. NC:| all April aJ rmation. I rth Wee- jntainfrc'l msm Mens Hu?- ce froir'"! Id bytliefl Miracle on c 42nd Street’ ’Magination Station play portrays life on Broadway LI Photos by Carina Casas X arge dance numbers, Broadway glitz and a bit of romance thrown in all make “42nd Street” an in triguing show opening this week end at ’Magination Station. 42nd Street, a novel origi nally written by Michael Stewart and Mark Bram ble, is set in 1933. It is the story of a rich producer/director, Julian Marsh, played by Robert Cottrell, F who, after losing a for tune in the stock market crash of 1929, attempts a * rjr comeback with a new theatri- F cal production called “Pretty Lady. ” The play is funded by Abner Dilton, played by Don Ling, whose only stipu lation is that the lead role in the dance musical must be played by his girlfriend, Dorothy, played by Kim Mitchell. When Dorothy falls and breaks her ankle before opening night, a young chorus girl, Peggy, played by Kimberly Reynolds, must step up and take the lead. “Dorothy is an aging actress,” Mitchell said. “She hasn’t had a hit in 10 years, and she has one problem — she can’t dance. She has a gigolo, Pat, who she loves, and they have to sneak around Julian and Abner.” Julie Crawford-Angelo, director of “42nd Street,” said the show has a Cin derella spin. “It’s ‘chorus girl makes good,’” Craw ford-Angelo said. “Also, Dorothy discov ers that she really loves Pat and, in the end, they get married. It’s a kind of self- discovery. ” The musical was first produced as a black-and-white movie in the 1930s and later translated to a Broadway musical. Brad Dressier, stage manager for ’Magination Station, said an especially interesting aspect of the show is the set ting; “42nd Street” takes place mostly in Story by Susan Over cash a theater. “It’s a play within a play,” Dressier said. “A lot of the story literally takes place within the theater rehearsing the show or in a dressing room.” Perhaps the most unique facet of “42nd Street” is the level of choreogra phy. Dressier said the large dance num bers and professional choreography ele vate “42nd Street” to a higher level. “It’s a very big ensemble production, something the audience has never seen before,” Dressier said. “Such choreog raphy at this level of professionalism — nothing like this has been done before in the local community.” Robert Gonzales, the “42nd Street” choreographer who also plays a Billy in the show, said that most of the ideas for the choreography of the show are his own. “The dancing itself must portray so many things through the play,” Gonza les said. “Part of it is a musical, like old movies, where people just break out into song and dance in the street, and part of it is the choreography for ‘Pretty Lady’ within the show. We’ve kept it consis tent through the show. ” Gonzales said he was inspired by some of the sounds and syn- copations on the soundtrack. However, the choreography is brought to life by the dancers themselves. “From a choreographer’s standpoint. I’m just the one who taught the people how to dance,” Gonzales said. “The dancers are actually making my visions come true by how they dance.” Crawford-Angelo said the final dance number will keep audiences enthralled. “There were several touch ing moments, but the big dance at the end, the finale of ‘Pretty Lady,’ actually called ‘42nd Street,’ is a really spec tacular piece,” she said. Gonzales said he agrees that the final dance, a seven-and-a-half-minute tap number, is a story of its own. “Each person is a separate character,” Gonzales said. “Each character tells a story, follows through their motions so that they become someone you would see on 42nd Street in New York.” Mitchell said Dorothy’s costumes are another source of amazement. “She has fabulous costumes, hats and gloves, all beaded and sequined,” Mitchell said. “This is a different role for me; there are elaborate costume changes, very quick, and I have nine costumes.” Mitchell said it was the vocal role of Dorothy that presented a challenge. “The songs were written very low,” Mitchell said. “Back then, the women had a rough, seductive voice, and I’m a soprano. We’re trying to stay very peri od. The show is very happy-go-lucky, and it’s very funny, [it] has a sense of hu mor. ” “42nd Street” opens Friday, and plays for three weekends at ’Magination Sta tion. Matinee shows are Friday, Saturday and Sunday. “42nd Street” cast members rehearse “Getting to be a habit with me.” The play will open on Friday and run for three weekends at ’Magination Station.
