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The musical adaptation of the 2006 film “Take the Lead,” featuring Antonio Banderas, has premiered at the Paper Mill Playhouse and is set to run until April 27. This production stars notable talents including Adrienne Bailon-Houghton from 3LW and the Cheetah Girls, along with Vincent Jamal Hooper, Savy Jackson, Tam Mutu, and others.
Set against the vibrant backdrop of New York City, the musical tells the inspiring true story of Pierre Dulaine, a former professional dancer who pioneered the introduction of ballroom dance into public schools in New York. Through its engaging narrative, the show emphasizes the significance of arts education in public schools, making Dulaine’s journey both compelling and motivational.
This world-premiere musical combines a captivating mix of ballroom and hip-hop styles, featuring a book written by Robert Cary and Jonathan Tolins, alongside a score composed by Elliah Heifetz and Zeniba Now. The choreography is a collaboration between co-choreographers Jennifer Weber and Maria Torres, with direction by Christopher Gattelli.
The talented cast also includes Matthew Risch as Alan, complemented by a diverse ensemble featuring Eric Ascione, Brandon O’Neal Bomer, Megan Elyse Fulmer, Gaelen Gilliland, David Jennings, Dillon Lehman, Natalia Nieves-Melchor, Justin O’Brien, Kevin Trinio Perdido, Ryan Raffloer, Deon Releford-Lee, Cristian “Chino” Rodriguez, Kiki Rodriguez, Jonalyn Saxer, Tatiana Seliverstova, SeQuoiia, Grace Slear, Salome Smith, Stephani Sosa, Christian Whan, and Zoë Zimmerman.
Marina Kennedy from BroadwayWorld notes the vital message surrounding arts funding in public education, highlighting the show’s entertaining qualities as well as its inspirational core. She emphasizes that “Take the Lead” stands out as one of the season’s most enjoyable performances.
On the contrary, Patrick Maley from NJ Advance critiques the production for the mediocre quality of the songs by Heifetz and Now, suggesting that the musical serves mainly as a platform for dancing rather than a narrative-driven experience. Maley appreciates the choreography’s attempt to fuse different dance styles, but finds the overall output lacking depth.
Bob Nesoff from Splash Magazine praises the audience’s engagement with the performance, noting the laughter and applause that frequently filled the theater. He underscores the dedication of Dulaine to his craft and his students, capturing the heart of the show’s message.
In a less favorable review, Cameron Kelsall from TheaterMania describes the score as largely forgettable and suggests that the performances, under Gattelli’s direction, lack the vibrancy needed to elevate the material. He remarks on the initial promising performance by Mutu but finds that it does not sustain the energy as the narrative progresses.
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www.broadwayworld.com