The Skyscraper Rises Again

The 1960s Broadway Musical Is Gloriously Revived for the First Time.
The determined and spirited Georgina Allerton has two goals—to make her antique shop a success, and to save her Rutherford B. Hayes-era Manhattan brownstone from getting bulldozed in favor of the titular modern marvel. But she’s also a hopeless romantic, and her forays into flights of fancy threaten to impede her success in the real world, in a time when women had to fight to be seen and heard.

Skyscraper is the creation of legends James Van Heusen (music), Sammy Cahn (lyrics), and Peter Stone (book), based on the play Dream Girl by Elmer Rice. Today it is reborn, in its first-ever revival, as a vibrant production that blows welcome fresh air and a dose of cheer into uncertain modern times.

In the role originated by Julie Harris in 1965, Rachel Lauren James shines as Georgina, anchoring the show with a magnetic central performance. The shop owner fights/flirts with contractor Tim Bushman (Travis Murad Leland), who is competing with his brother Bert (Jeff Raab) to see which of the two can persuade Georgina to sell her property to make way for their towering behemoth (and its fittingly garish, pimply design). Tim, who has been spying on Georgina with a telescope (making him “a peeping Tim” as it is noted), takes a genuine liking to her, even as he conspires to cajole her for the sake of business.

Georgina also must battle the common, dismissive perception of her, which is either as “that stupid woman next door” or “the girl with the sensational legs and thighs.” Complicating things further is Georgina’s own vivid imagination, which propels her at inopportune moments to disappear into a dreamworld where she is romanced by her assistant Roger (Brian C. Veith.) “Everyone daydreams, it’s part of the human condition!” protests Georgina, oblivious to how much it is interfering with her life
(“Occasional Flights of Fancy”). The dream sequences are delightful as Georgina conjures up moments and dialogue from Gone with The Wind, and forays into Parisian-style passion.

Katryna Marttala excels as Stanley, tough-talking head of the construction crew, who leads them in singing “Local Four Oh Three.” Adding comic flair are Sydney Michele Castiglione as Georgina’s pestering but well-meaning mother, Shea Pender as her “can’t-be-bothered” father, and Abby Scalici as her “still-single” sister Charlotte.

As crafted by the masters, the songs are expectedly joyful and memorable, and the dance sequences beautifully crafted by director and choreographer Avital Asuleen, and guided by ensemble member Katherine Winter as Dance Captain. (Among the stunning sequences is a winning tap dance number.) “Haute Couture” is a particularly fun set piece, with the guys and gals singing the praises of 60s fashion and flair in their thick NYC accents.

The song and dance sequences, combined with the witty book, perfectly recreate the playful fun of early 60s Broadway while being an overall love letter to the theater and to New York City. The costumes by Michael O’ Herron are suitably bright, from the orange hats of the building construction workers, to the red, pink and green coats, shirts, and dresses of the ensemble at large. The inventive set design by Hannah Tarr beautifully brings it all together.

This newly built Skyscraper is a triumph for the actors and creative team, and it makes for the perfect, refreshing theatrical escape of the season.

Skyscraper is presented at Urban Stages through November 17, 2024.