Original concept by Paul Kelly,
Original direction and choreography by Lynne Taylor-Corbett
Directed by Marc Robin
Choreographed by Marc Robin, Beverly Durand and Mark Stuart Eckstein
At: Marriott Theatre
Phone: ( 847 ) 634-0200
Runs through: April 24
By Catey Sullivan
With 20 years in the business and at least eight Jeff awards under his belt, Marc Robin is one of the most prolific, in-demand and accomplished choreographers working in these parts. Hence, we were taken aback when we learned that for the musical Swing, he felt compelled to bring in hired help to assist in creating the moves.
The reason for the extra expertise of Swing Broadway vet Beverly Durand and two-time American Lindy Hop Champion Mark Stewart Eckstein becomes apparent five minutes into this kinetically joyous production.
Swing isn't just about the music and dance of the 1940s; it's a showcase of elite-level acrobatics and gymnastics and crammed to capacity with the sort of leaps, lifts and twirls one usually sees only in figure skating pairs.
Even the most advanced tap/ballet/jazz dance number doesn't generally call for flinging one's partner the length of a stage or whirling her by one leg in a two-person pirouette that resembles a toy top gone berserk.
As for those spiraling, mid-air moves in which dancers spin over the stage like well-passed footballs, well, suffice to say, don't try this at home kids.
The music is equally impressive: From the velvety cynicism of 'Cry Me a River' to the effervescence of 'Stompin' at the Savoy,' Swing brings the audience into a nostalgic but vital world.
If there's a misstep in Swing, it's the occasional lack of raw, smoldering sass. The performers are more perky than sensual, and that means some of swing dancing's inherent undercurrent of blazing sexuality goes missing. Moreover, given the fact that swing dance started at Harlem's Savoy Ballroom as a largely African American phenomenon, the cast—with the exception of the Lindy Hop impresario Quinn Bass—is overwhelmingly white. Where's Kenny Ingram and Sean Blake when you need them?
Those relatively minor drawbacks aside, Swing is contagiously exuberant.
A crack live band—one of Marriott's best in years—conducted by Doug Oberhamer propels the show with the brassy sounds and syncopations of the era.
The members of the dance corps jump and jive as if this were the last dance of their lives. In addition to the gasp-inducing work by Durand, Eckstein and Bass, Buddy Reeder brings down the house in a solo tap bit that while comparatively short on physical pyrotechnics, is as full of heart and fleet-footed as you can get.
As for the vocal quartet that provides musical punctuation to all the fancy footwork, it's hard to imagine a more apt ensemble of singers. Susan Moniz' torchy, heartrending rendition of 'Skylark' is arguably the highlight of the show. In white tux and tails, Bernie Yvon is a smooth study in nonchalant seduction. Roberta Duchak bubbles with flirtatious whimsy in the comic 'Bli-Blip,' and the whole group comes together in the glorious 'Sing, Sing, Sing.'