Rose Theatre goes out in style with rousing production of '42nd Street'

From its opening song-and-dance number to the time the curtain falls at the end, Southeast Missouri State University's production of "42nd Street" never fails to live up to its billing as a "song and dance extravaganza." And singing and dancing is almost all you'll see at this show.

Putting the "42nd Street" experience down in type is hard to do. How does one describe a show that, throughout its two-and-a-half hour running time, is over the top in almost every way? I don't know, but I'll try.

The authentic-looking period costumes from the Depression era (care of Rhonda Weller-Stilson and her student crew); the elaborate, intricately crafted sets (care of Dennis Seyer and crew); and the ordered chaos of the choreography that somehow harnesses the power of 15 tapping dancers (care of Lees Hummel) all come together to make "42nd Street" a proper farewell to the Rose Theatre.

But those elements are only a part of what makes Southeast's latest musical theater effort worth seeing. Finding what's bad in a theater production is often easier than finding what's good, but not this time.

Director Dr. Kenn Stilson has managed to harness a glut of dancing, singing and visual stimuli that make "42nd Street" the epitome of the American love of more, more, more. This production is American musical theater.

This is a musical about a musical, a loving tribute to the golden era of the musical. The plot follows the adventures of young Peggy Sawyer, who makes her way from Allentown, Pa., to New York during the Great Depression with dreams of becoming a chorus girl in "Pretty Lady," the latest offering from big-time Broadway director Julian Marsh. Along the way she just happens to realize the American dream.

The actors who play Sawyer and Marsh both shine bright, as does most everyone else including the chorus members. Chelsea Serocke plays Sawyer with the kind of sweet innocence and naivete that defines the character, while Southeast theater veteran Andrew Tebo nails Marsh's seen-it-all, done-it-all, show biz-warrior mentality. Erin Island also stands out as fading star Dorothy Brock, never cracking her self-absorbed diva facade.

And these are not the only actors in the cast of 30 that stand out. Maybe that gives you some idea of how good this production is.

Never is there any time for rest, either. The set and costume changes in "42nd Street" are lightning fast, leaving you scratching your head wondering how they did it, unless you're so caught up in the fantasy you don't even notice. What makes those transitions even more impressive is the intricate nature of both the costumes and the sets.

Keep a lookout for the amazing scenery on "We're in the Money," where chorus girls in shimmering gold costumes tap on giant coins against a backdrop of a skyline partially made of coin skyscrapers. This number is pure visual excess, exactly as it should be.

Equally as impressive is the use of lighting (designed by Philip Nacy) and curtains in the "Shadow Waltz," with its dancing silhouettes.

Southeast has touted this production as one of its grandest ever, and they might just be right.

Maybe there is one bad thing about "42nd Street" -- there's not enough of it.

See video online at www.semissourian.com/gallery/1634/.

msanders@semissourian.com

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