©Backstage Magazine
December 14, 1999


Swing! Lives Up to Its Name
by David Sheward

The overall concept of Swing! is rather loose and vague, and it's never really clear if we're in the '40s or the present, but so what? This is a joyful, fun, scat-singin', jitter-buggin', hip-poppin' show audiences will eagerly eat it up with the proverbial spoon. Taking its inspiration from the music style of the title, the show offers the kind of plotless, breathless, entertainment one could see in movie musicals of the period-a celebration of the liberating effects of bubbly, Big Band sounds from the likes of Duke Ellington, Count Basie, and Benny Goodman.

Lynne Taylor-Corbett is listed as director-choreographer while Jerry Zaks is credited as production supervisor. That makes its difficult to figure on who contributed what. In addition, several of the dancers are credited in the program with creating their own choreography. But the total package is a joy.

The evening begins with Casey MacGill leading his band, The Gotham City Gates in "It Don't Mean a Thing If It Ain't Got That Swing." MacGill, who possesses the sensuous moves and hopped-up energy of Cab Callaway, sets the tone-Relax, cats, and get ready for some high steppin'. Then a troop of dancers bound onto the stage and athletically twist around each other like licorice. The dancing is exciting and explosive, but the singing paks just as strong a punch.

Ann Hampton Callaway, one of the leading ladies of the cabaret world, makes her impressive Broadway debut here as what they used to call "the girl singer." Her solid wailing on "Blues in the Night" and sophisticated crooning on "Stompin' at the Savoy" are the aural equivalent of eating a rich dessert-creamy and delicious. She provides the highlight of the show in a witty scat duet of Ellington's "Bli-Blip" with her equally enjoyable co-star Everett Bradley. Laura Bennanti and Michael Gruber display solid pipes, too.

There are also imaginative numbers involving a trombone and a cello, country-western hoe-downs, dream ballets, and a USO show, flashy Willaim Ivey Long costumes, elegant Thomas Lynch sets, and poetic Kenneth Posner lighting. This Swing! should keep Broadway hoofers employed for some time.


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