Past Production:

Writes Bernstein, “It seems only natural that dance should play a leading role in the show On the Town, since the idea of writing it arose from the success of the ballet Fancy Free….The story of On the Town is concerned with three sailors on 24-hour leave in New York, and their adventures with the monstrous city which its inhabitants take so for granted.”  The first episode is Dance of the Great Lover, in which the romantic sailor Gabey falls asleep on the subway and dreams of sweeping Miss Turnstiles off her feet; the effervescent music underlines Gabey’s naiveté as well as his determination.  In the second episode, Pas de Deux, Gabey watches a scene, “both tender and sinister, in which a sensitive high-school girl in Central Park is lured and then cast off by a worldly sailor.”  This is set to Lonely Town – one of Bernstein’s greatest tunes, worthy of his friend and mentor Aaron Copland in its air of reflective melancholy.  The finale, Times Square Ballet is described by Bernstein as “a more panoramic sequence in which all the sailors congregate in Times Square for their night of fun.” Part of the action takes place in the Roseland Dance Palace, with music to match.  The famous “New York, New York, it’s a helluva town” theme makes a cameo appearance. 

The Argus Review 15 April 2009

By Barrie Jerram »

This classic musical is a combination of Leonard Bernstein’s glorious music, Comden and Green’s fine book and lyrics and choreography that integrates ballet with modern/jazz dancing.

Its complexity would test any company, professional or amateur. City Theatre Co can be praised for taking up the challenge and providing a high octane show that entertains throughout.

Nathan Potter, Jamie Collins and Gary Lynn play the three sailors who have one day’s shore leave in New York before sailing off to war in the Pacific. Potter and Collins provide excellent comedy, whilst Lynn excels with the ballads, particularly Lonely Town.

Their love interests are played by the equally talented Naomi Bates, Lea Spells and Nikki Leach.

The show is full of numbers that allow each of the principals to demonstrate their various skills. The large cast is well disciplined in movement and staging and provides some delightful cameo roles.

A 15-piece orchestra meant justice could be done to Bernstein’s brassy score but it did have its downside. The principals, even when using a mike, occasionally had to fight to be heard.

The chorus suffered even more, as they had no amplification.

That said, this is a wonderful chance to see a stage version of the great film.