Cagney

27East

‘Cagney: The Musical’ Is the Patriotic Optimism We Need Right Now

As citizens across the nation settled in last weekend to celebrate America’s 250th birthday with parades, fireworks and fairs, there remains much to consider at a deeper level in terms of where we are in the life of this still relatively young country. This is particularly true when it comes to the notion of patriotism — and the idea of who gets to own it — given the current highly heated and politically divided climate in which we find ourselves living.

Which is why it’s refreshing when an emotionally honest expression of affection for this country and the positive ideals it stands for comes our way. Happily, “Cagney: The Musical,” Bay Street Theater’s second production of the 2026 mainstage season, does just that. Directed by the incredibly insightful Will Pomerantz, this play, which opened with a bang on July 3, is an entertaining, high-energy romp through the golden age of Hollywood (and in many ways, America itself).

This musical is also a refreshing throwback to the days when a good tap dance number could make your day. Lovers of that sort of entertainment will be thrilled to learn that “Cagney: The Musical” is chock full of splendid song and dance numbers and lots of dramatic action too. Just like July Fourth fireworks, this production sparkles.

The title of the play refers, of course, to James Cagney, an actor. Younger generations probably have never heard of him (which is why the musical relies on a linear form of storytelling as it presents the key moments from his life and career). Cagney made his name on the big screen playing tough guys like Prohibition-era bootlegger Tom Powers in 1931’s “The Public Enemy” (that’s the film where he shoved half a grapefruit into Mae Clark’s face — a scene which is delightfully recreated on stage) and “White Heat,” the 1949 film in which Cagney portrayed Cody Jarrett, a psychotic gun-toting gang leader obsessed with his mother.

But perhaps Cagney’s most famous film role (at least in terms of earning him an Academy Award) was the 1942 flick “Yankee Doodle Dandy” in which he portrayed composer George M. Cohan. In the patriotic musical biopic, Cagney put down the guns and picked up the tap shoes as he showed off his formidable skills as a singer and dancer in emulating Cohan.

And now, actor Robert Creighton is emulating Cagney emulating Cohan. Creighton bears a remarkably uncanny resemblance to the short-statured Cagney, who was just 5-feet, 5-inches tall, and as the star of this show, he’s undeniably fully committed to the role as well as the script. In fact, Creighton conceived “Cagney: The Musical” in the beginning and has been dedicated to the project from day one. Creighton, who starred in an Off-Broadway production of the play in 2016 and 2017, co-wrote the music and lyrics for the show with Christopher McGovern, which are paired with a book by Peter Colley.

Make no mistake — this is Robert Creighton’s show to own, and it’s obviously a labor of love for him. His passion and deep familiarity for the material is evident in every scene. Not only does he bear a striking resemblance to Cagney, but Creighton’s ability to physically pull off Cagney’s signature dance moves, like the famous straight-legged tap dance which, in turn, was an imitation of Cohan’s unique style, reveals the strength of his dedication to his subject and the time frame in which he lived.

But Creighton doesn’t do it alone. Supporting him every dance step of the way is a strong and immensely talented cast that shines on stage. Triple threats, all, they play the various characters Cagney encounters along the way in the retelling of his life story.

It’s a story that begins when we meet Cagney as a young man living with his parents and siblings on the Lower East Side of Manhattan. Born poor, his Irish immigrant parents, Ma Cagney (played lovingly by actress Melissa Manchester, a singer/songwriter whom you might remember had a string of pop hits in the 1970s and 1980s) and Pa Cagney (Jim Borstelmann) are raising their children as best they can on a bartender’s salary. Cagney has just been accepted to Columbia University where he intends to study art when the family is rocked by a tragedy that derails those plans.

Instead, James is forced to work wherever he can to support the family — including as a worker on a construction site. Bullies are the one thing that he can’t abide, and thanks to his mother’s encouragement to stand up for others when he sees a wrong that needs to be righted, James and a group of fellow construction workers are fired after he stands up for them all by getting into a fist fight with the boss over stolen wages.

Fortunately, James and his brother Bill (Daniel Plimpton), have pretty impressive dancing chops, thanks to Pa’s tutelage in the ways of the Irish jig. They take their talents first to the street, then to small Vaudeville theaters where the pay is better (though the hours may be worse). Before long, Cagney is moving up the Vaudevillian ladder and finds himself on the road and paired with a chorus dancer nicknamed Willie (Audrey Cardwell). They share an adorable musical number titled “Fallin’ In Love” in which neither can quite say the “L” word. But they soon get past that and tie the knot.

Cagney’s star rises quickly as he takes roles in various plays in New York and he catches the attention of the notoriously difficult Jack Warner (Bruce Sabath), head of Warner Bros. studio, and his wily secretary Jane (Corinne C. Broadbent) who’s really the one running the show. Warner gets Carney into the pictures, and James and Willie move to Los Angeles.

This show may offer a picture of this country in a simpler time, but there is still plenty of conflict to endure. This comes primarily through Cagney’s contentious relationship with Warner and their many creative differences, including his distaste for always being expected to play a gangster with a gun on screen. Cagney is also hauled before the Dies Committee (the precursor to the House Un-American Activities Committee) in Washington, D.C., where he is grilled about his involvement in helping a group of workers to unionize that was, unbeknownst to him, being backed by the Communist party.

Ultimately, some of the show’s most memorable moments come when Creighton is sharing the spotlight with the talented Michael Starr, who plays Bob Hope. Starr holds his own and is quite an accomplished song and dance man himself. In real life, Cagney and Hope were good friends and they entertained the troops at USO shows during World War II.

Setting the mood for the various scenes throughout Cagney’s life is a simple set onto which projections by Mike Billings are used to great effect. They depict everything from the fire escapes of the Lower East Side to the hangars that host USO shows and even Jack Warner’s Art Deco-inspired offices. Music director and keys player Doug Oberhamer leads the band, Ed Chiarello (percussion), Teddy Motz (bass), Charlie Clause (guitar) and Lo Wood (reeds) as they bring the songs to life, making the audience feel like they really are in an old-time movie.

All and all, while the subject matter can, at times, feel a little sentimental in this show, there’s a liberal dose of good old-fashioned fun to be had when this cast is on stage, and in the end you feel pretty good about the state of the country — well, at least as it looked in Cagney’s day. It’s hard to resist a character like James Cagney, who in many ways was the most patriotic of patriots. A man who despised cruelty against the less powerful, he was proud of his roots as the son of Irish immigrants from the Lower East Side. In other words, this play evokes the best kind of patriotism and is a perfect escape from what we know awaits us outside those theater doors.

Hamptons.com

REVIEW: Bay Street’s “Cagney The Musical” is a Huge Success

If you are anywhere on the East End, make sure you get to the Bay Street Theater for “Cagney The Musical,” which runs through July 26th. This show is tremendously entertaining on every level. It features superb acting, singing, and dancing, and a heart that had the opening-night audience standing, cheering, and applauding triumphantly by the final curtain. Produced by Bay Street in association with Riki Kane Larimer and directed by Bay Street Theater’s Associate Artistic Director Will Pomerantz, “Cagney The Musical” brings the story and career of James Cagney, from his early beginnings in vaudeville to his rise as a huge Hollywood star.

From the moment Bay Street Executive Director Tracy Mitchell and Bay Street’s Artistic Director Scott Schwartz introduced the show, one somehow knew something special was about to happen, and boy did it.

What happened was Robert Creighton starring as James Cagney. Now, taking into account that Mr. Creighton originally conceived the show and put together the music and lyrics, along with Christopher McGovern, one cannot see this show and not be in awe of his talents to dance, sing, and, quite frankly, put a show on his back. He not only successfully carries it but also lifts the rest of the cast into that magic zone that makes it a most memorable night of live theater. It must be stated that, when the standing ovation ended, the audience was most exuberant as they exited the theater, smiling and saying how much they truly enjoyed this show. Isn’t that the greatest sign of a successful night of live theater? There is also music by George M. Cohan in this show. The book is by Peter Colley.

Back to Robert Creighton as James Cagney, one has to marvel at the high energy that he pours out all over the stage. From my seat, I caught him winking at co-star Audrey Cardwell (Willie) in the middle of a complicated tap-dance number that made her smile back as if saying, “We’ve got this.” Moments such as these are what make a show special. Ms. Cardwell, as Willie, is brilliant because she is at home on stage. She owns her scenes and adds a special aspect whenever she takes over a scene in song, dance, or dialogue.

Bruce Sabath, as Jack Warner, was easily an audience favorite, commanding the stage throughout the show. Michael Starr, who portrayed Bob Hope, can really dance, as can Daniel Plimpton (as Bill Cagney). Corinne Broadbent shone as Jane, Jack Warner’s assistant, but radiated the spotlight when she solos the reprise of “A Work of Genius.”

Jim Borstelmann adds some spice as Schotzki, and Melissa Manchester tugged on hearts, performing and singing admirably in her role as “Ma Cagney.” Emma Kantor ably handles the off-stage voices.

Every Will Pomerantz-directed show bears his stamp of excellence. Mr. Pomerantz has that magic touch that comes from research and his ability to find where and how to place his actors for maximum effectiveness.

The dancing in “Cagney The Musical” is dazzling and a most important element in the show. The original choreography was by Josh Bergasse. Then choreographed by Jeremy Benton, with Doug Oberhamer doing the music direction, orchestrations, and arrangements.

A behind-the-scenes star is Mike Billings, who is the genius behind the lighting design. Costume design by Barbara Erin Delo added pizzazz to the show. Shaughn Bryant handled the sound design. Doing hair and make-up design is Liz Printz. The fight direction is handled by Sordelet Inc. The production stage manager is Amber R. Dettmers. Doing the scenic design are Christopher Swader and Justin Swader.

James Lane Post

The Journey Of James Cagney: ‘Cagney: The Musical’ At Bay Street Theater

Last week, I had the pleasure of meeting and dining with Robert Creighton, the co-composer and inspiration of Bay Street Theater’s current production of “Cagney: The Musical,” in which he plays the star and film legend of the 1930s and ’40s, James Cagney.

His resemblance to Cagney is striking, though I wondered whether he seemed too sweet and gracious to portray the tough New York gangster I remembered from Hollywood classics like “Angels with Dirty Faces,” with its line, “Mornin’, gentlemen. Nice day for a murder!”; “The Public Enemy,” where Cagney famously shoves a grapefruit into Mae Clarke’s face; “White Heat,” where he cries, “Made it, Ma! Top of the world!”; and “Taxi,” often misquoted as “You dirty rat,” though the actual line is, “Come out and take it, you dirty, yellow-bellied rat.”

To be fair, James Cagney is a daunting role for any male actor, and Robert Creighton had big shoes to fill. He succeeds with charm, wit, and impressive theatrical skills, exceeding expectations in his portrayal of the late, great movie idol. And can Creighton dance — tap dance, that is! He and the rest of the ensemble prove themselves true triple threats, able to sing, dance, and act, a rare combination these days.

Bay Street’s production of “Cagney: The Musical,” directed by Will Pomerantz and choreographed by Jeremy Benton, traces the life of James Francis Cagney Jr., born in 1899 to poor Irish immigrants on Manhattan’s Lower East Side, and his rise to Hollywood fame. His father, a bar owner who drank heavily, died when Cagney was young, while his mother, “Ma” Cagney, played wonderfully by singer-songwriter Melissa Manchester, was a strong, level-headed woman who taught him to stand up for himself and fight injustice. That bond likely shaped and motivated many of his choices throughout his life.

As the story unfolds, young Cagney’s dream of attending Columbia University on a full art scholarship is derailed by his father’s untimely death. He auditions for vaudeville, lands a role, meets his future wife, and begins his career on stage. Before long, while performing on Broadway, Warner Bros. chief Jack Warner, played brilliantly by Bruce Sabath, brings Cagney to Hollywood with a seven-year film contract, launching both his career and the struggles he would face throughout his years in the movie business.

“Cagney: The Musical” reveals the striking contrast between the tough-guy roles Cagney often played and the man he truly was: intelligent, artistic, quiet, and willing to speak out when his values were challenged. Devoted to his family, he was married to his wife, Willie (Audrey Cardwell), for 66 years and was gifted not only as an actor but also as a song-and-dance man who could tap dance like nobody’s business. He was also an amateur boxer and semi-pro baseball player. Still, he longed for more meaningful roles and wanted to break free from being typecast as a gangster or bad boy.

The musical’s greatest strength is its brisk, fun, theatrical flow, with quick scene changes, many of which relate to familiar historical moments. Its score blends original songs with familiar George M. Cohan standards such as “Give My Regards to Broadway,” “Grand Old Flag,” and “Yankee Doodle Dandy,” giving the evening a patriotic vaudeville snap. Some of the audience’s favorite numbers are when Cagney and Bob Hope (Michael Starr) team up, especially during their USO tours performing for the troops during WWII.

Overall, “Cagney: The Musical” is a lively, high-energy crowd-pleaser, well timed for Bay Street Theatre as America celebrates its 250th birthday. In today’s divided political climate, it’s an uplifting production that reminds us that, like Cagney, we can be complex people with toughness, grace, and a strong sense of justice. He was a star who could throw a punch on screen, then tap his way straight into the audience’s heart.