by Macey Levin
The Sharon Playhouse in Sharon, Connecticut, opens the 2026 Season with Swingtime Canteen,” a multi-leveled show that has elements of nostalgia tinged with contemporary relevance.
It is 1944 and World War Two is raging around the globe. Companies of talented Hollywood and Broadway performers entertain American servicemen to bring something from home and to raise morale. A troupe of talented women, though somewhat naive women, bring a show to a London underground canteen to entertain the troops with music from the great swing bands. The love songs, comic numbers and patriotic anthems play to the show’s audience, presumed to be all G.I.s
Though the music is omnipresent there are plot elements sprinkled throughout the play. These more intimate scenes offer insight into the lives of those affected by the war… the husbands, boyfriends, families as well as the performers. The characters are more than just singers… they are people living a tenuous life. All of this combines into a terrific production that touches the heart and the funny bone.
Led by Marian Ames (Margaret Dudasik) the onstage band and the cast kick off the show with the rollicking “Bugle Call Rag” and “Ac-cent-tchu-ate The Positive,” which set an early tone, followed by two more upbeat numbers and then the melancholy “I Don’t Want To Walk Without You,” which adds another dimension to the production. All in all, there are thirty-three songs throughout the show.
The presentation of the musical numbers is dramatically structured. An upbeat number or two may be followed by a more poignant series of songs. For instance, “Don’t Fence Me In” leads into a sequence including “How High The Moon,” “You’ll Never Know,” “My Shining Hour,” and “I’ll Be Seeing You,” all songs from the heart directed to the men they miss, love and are frightened for. All of these moments lend an insight into these women and to the tenor of the times. To add to the tension of wartime and their lives, an air raid occurs with the sound, designed by Graham Stone, and repercussions of falling bombs intensified by the lighting of Adan English.
The set by Christopher and Justin Swader is typical of the common bandstands of the era adding to the mood of the production.
Several of the actresses also play instruments to accompany the vocals. Lilly McBain (Michelle Lemon on the saxophone, banjo, guitar and piano,) Jo Sterling (Sarah Betty Palmer – piano,) Topeka Abotelli (Claire Marie Spencer – piano.) They are complemented by Katie Gammersfluge (Lucy Rhoades,) and the onstage band of Lt. Eleanor Fuchs (Mallory Kokus – clarinet, saxophone,) Lt. Muriel Kravis (Kim Bonsanti – trumpet, flugelhorn) and Lt. Jeannie Pielmeier (Lauren Seery – bass.)
The performers led by Ms. Dudasik have wonderful and flexible voices as their talent and personalities fly off the stage. Choreography by Krystyna Resavy complements the songs and is also reminiscent of the forties dance styles. Costumes by Kathleen DeAngelis are coordinated to represent some of the styles of the time while enhancing the actresses physical freedom. Direction by Carl Andress, Sharon’s artistic director, is upbeat through the lighter moments with a touch of melancholy in the more somber scenes. Andress worked on the original production in 1995.
If you remember or are knowledgeable of the time period, the show will bring back a pastiche of memories and emotions. If this is new to you, enjoy the experience of a bit of American history.
Swingtime Canteen by Linda Thorsen, William Repicci and Charles Busch; Orchestrations and vocal arrangements by Bob McDowell; Special material by Dick Gallagher’ Director: Carl Andress; Choreographer: Krystyna Resavy; Music Direction: Eric Thomas Johnson; Cast: Margaret Dudasik (Marian Ames) Michelle Lemon (Lilly McBain) Claire Marie Spencer (Topeka Abotelli) Lucy Rhoades (Katie (Gammersflugel) Mallory Kokus (Lt. Eleanor Fuchs) Kim Bonsanti (Lt. Muriel Kravis) Laureen Seery (Lt. Jeannie Peelmeier); Associate Producers: Amy Danis and Mark Johannes; Scene Design: Christopher Swader and Justin Swader; Costume Design: Kathleen DeAngelis; Lighting Design: Aidan English; Sound Design: Graham Stone; Technical Director: Izzy Dillon; Production Manager: Perseis J. Graant; Wig and Makeup Design: Bobbie Zlotnik; Production Stage Manager: Kristine Schlacter; Running Time: two hours with one intermission; June 19 – July 5, 2026; For tickets phone 860-364-7469 (Ext. 200 & 201);email: boxoffice@sharonplayhouse.org