Say yes to No, No Nanette

By Christopher DaCosta

A sugar-coated classic, this year's spring 2002 musical, No, No Nanette, is a memorable tap-dancing extravaganza.

Featuring a multi-talented cast, Nanette will provide theatergoers with a nostalgic look into the optimistic, flapper-populated 1920s. With a toe-tapping musical score devised by Vincent Youmans and clever lyrics by Otto Harbach, this lighthearted musical is bound to transport students away from their final exam worries to a world filled with the satisfying goodness of the ultra-stylish Charleston dance.

Directed by Theater and Dance Department Chair Barbara Murray, Nanette is a three-act, all-encompassing ensemble production that emphasizes happiness, thanks to Youmans' timeless and hedonistic composition "I Want to be Happy." According to Murray, Nanette was a departure from musicals the department usually performs.

"It's a little more traditional and the music faculty preferred we do something a little more classic," explained Murray.

Previous musicals such as Chorus Line made use of a more contemporary singing voice, whereas Nanette retains an upbeat, jazzy style. Murray identified the difficulties of selecting a feature musical, which ranged from budget concerns to casting considerations.

"Most musicals have hardly any women's roles except for the ensemble," said Murray.

Nanette has seven distinct women's parts, allowing a greater and more widespread expression of the female persona of the period. There are three principle male roles and 17 members contributing to the chorus, totaling a large 27-person cast.

Choreographer Fran Atlas-Lara and Murray both note the predominant dancing style as jazz and tap. "The style of dance is basically twenties style, a lot of Charleston and tap," Atlas-Lara said.

Nanette is an innocent coming-of-age story combined with the misadventures of Jimmy Smith (senior Alexander Lawrence), a prosperous, spendthrift bible-salesman, and his 'legal-eagle' friend, Billy Early (senior Gus Farwell).

Their wives, best friends Sue Smith (senior Shannon Self) and Lucille Early (junior Sarah Grojean) prove that independent women existed, even in the twenties. The title character, Nanette, is portrayed by junior Jennie Martin.

"Everyone assumes I am the star of the show, but the musical really is an ensemble piece - the whole cast is involved at all times," Martin said.

Freshman theater major Joel Castro corroborates her statement: "The chorus is not as small a part as one would believe; the chorus is just as demanding as any principle role."

Nanette is an orphan who is given a home by her aunt and uncle, Jimmy and Sue Smith. As a young woman, Nanette postpones a proposal from her sensitive boyfriend, Tom (junior Ryan Auffenberg), Billy and Lucille's nephew. Like any teenager, Nanette wants to explore the world before she gets married. Nanette settles for Atlantic City, pursuing parties at the beach and cavorting with her ever-giggling acrobatic friends.

Both at the beach and in the Smith residence, the elaborate costuming preserves the authenticity and the lacking-waistlines that are '20s-chic. According to Murray, a costume designer herself, there are approximately 124 costumes in the production.

The show's brightly beaded costumes are perfectly suited for the shimmying dance moves the actors use.

"Since this is a feel-good musical, the costumes are visually pleasing, contributing to the overall quality of the musical," said wardrobe mistress, sophomore Jenny Jacobs.

While there is more emphasis on the women's costumes, male principles Farwell and Lawrence are outfitted in sensible three-piece suits contrasting the sticky situation they get themselves into. The men get caught up in comical misunderstandings with three bank-note hungry vixens from Jimmy's past. This romantic comedy of sorts culminates in a grand-scale finale, typical of musicals.

Nanette not only appeals to its audience through cheerful songs and lively dance steps, it also has a high degree of applicability.

"Even though it's 80 years old, it is still very timely," said Murray. Each of the characters are archetypes of people in everyday life. "The lady who charges up her credit card because her husband ignores her, or the lawyer who is willing to do anything for that $10,000," Murray said.

Martin agrees, "I had no problem relating to my character."

This sort of outreach towards the audience is the bedrock for producing an entertaining musical., according to Murray.

Atlas-Lara and Murray agree that the most difficult part of producing Nanette was ensuring the cast's ability to sing, dance, and act effectively. "Just making sure everyone could get the steps down [was difficult], and they all did," explained Atlas-Lara. A scene involving cartwheels and flips allowed the cast to learn their moves from Santa Clara alumni-turned-acrobats. "There were definitely a lot of techniques we had to learn. It was difficult but definitely a great new opportunity," said Murray.

Despite the ten weeks of intense rehearsal, cast members do not regret their involvement in the production.

"It's been fun, it has definitely been a musical theatre experience, everything about this play epitomizes 'musical theatre,'" said Self enthusiastically, "No, No Nanette is very audience appealing and just has a contagious energy of enjoyment."

When reading the script Martin found herself in a new world: "I absolutely love being introduced to this time period, living in the '20s for the past ten weeks has been really exciting."

Collaboration between Otto Harbach, Frank Mandel, Vincent Youmans and Irving Caesar resulted in Nanette - a wildly successful comedic musical when it debuted in 1925. Due to the sensation it caused, the original Nanette became hackneyed and was eventually overshadowed by the turbulent events of the twentieth century.

In 1940, there was an attempt to restore the forgotten musical by immortalizing it on the silver screen. The movie had fleeting success, and it was not until Burt Shevelove significantly revised the initial script, that the musical found a more modern audience.

The Santa Clara Theater and Dance Department is hosting its own revival of this timeless American classic, beginning this Friday, May 31 and running every night (except Monday) at 8 p.m. until June 8 with a matinee showing on Sunday, June 2 at 2 p.m. Attendance is $14 for general admission, $12 for seniors (60+) and Santa Clara faculty and staff and $5 for students. Enjoy the escapist theme of No, No Nanette by viewing one of these performances.