‘42nd Street’ sings the lullaby of Broadway

There are musicals based on movies that just don’t work. Remember that “Spider-Man” debacle?

Then there are musicals based on movies that click. “The Lion King,” for instance. “The Producers,” certainly.

Or “42nd Street.”

Based on a novel by Bradford Ropes and Busby Berkeley’s 1933 film, “42nd Street” is one of those vivacious backstage comedies that audiences eat up. The original 1980 Broadway production starred Jerry Orbach, won a couple of Tony Awards, and went on to run for more than eight years. When they revived it on Broadway in 2001, that production won a couple of Tonys, too.

Now it’s out on tour, and coming to Spokane on Thursday.

The show, set in 1933, centers on the backstage antics of “Pretty Lady,” the latest Broadway musical directed by Julian March (Matthew J. Taylor). Peggy Sawyer (Caitlin Ehlinger), a young actress right off the bus from Allentown, Pennsylvania, lands a coveted spot in the chorus line, only to become a star when original leading lady Dorothy Brock (Kaitlin Lawrence) is injured.

“It’s the story of every actor’s secret want,” said Taylor by phone from Chicago, where the show was halfway through a two-week run. “That’s why the show is so timeless. It speaks to the wants of the people in the audience.”

The classic songs, by Al Dubin and Harry Warren, are among some of the most memorable and hummable in the Broadway repertoire. “We’re in the Money.” “Lullaby of Broadway.” “I Only Have Eyes For You.” “Shuffle Off to Buffalo.”

Then there’s the tap dancing. A lot of it – at times, 60 feet moving in unison. Taylor – who freely admits he’s not a natural tapper – said it’s something to see.

“I always tell people one of the best places to see it is from the balcony, because you can see the intricacies of Randy Skinner’s staging and choreography during the numbers,” he said. “These tap dancers are second to none. There’s such a vitality and youthful energy about our company. So when there are 30 people – 60 feet – tapping at the exact same time, it’s a tremendous amount of energy. I really think the excitement and desperation of the 1930s can come through in feet that young. It’s really something spectacular.”

What makes this different from a lot of the non-Equity tours that come to town is the pedigree of its creative team, namely director Mark Bramble and choreographer Skinner. Bramble co-wrote the book (literally) for the original 1980 production, which Skinner served on as dance assistant. Skinner went on to choreograph the 2001 revival.

This access to the show’s origins has been invaluable for the cast, Taylor said.

“It’s a treasured experience. It’s something that most of our colleagues don’t have the opportunity to do. Even those who are dealing with first and second national tours of major Broadway productions don’t get to deal with the original production team, much less the original writer,” Taylor said. “There’s a valued depth to the style and the story that really no one else living is able to do.”

Taylor, who was raised in Texas, is no stranger to the Inland Northwest. For “42nd Street,” the cast did tech rehearsals in Yakima before opening in Salt Lake City in September. Before that, Taylor was in the touring casts of “Guys and Dolls” a year ago, and “Damn Yankees” and “Cats” before that. He’s already making plans to introduce his cast mates to O’Doherty’s.

“Spokane’s one of my favorites,” he said. “I’ve been talking about it since we signed the contract.”