It’s a unique privilege to be among the first to sing the praises of a new show. Especially when it’s as wonderfully upbeat and packed with the caliber of young talent that’s gracing the Paper Mill stage in the world premiere of Take The Lead. Based on the true story of a foreign-born ballroom champion who started a dance program in New York City schools, it’s a marvelous collaboration of artists, young and old, most of whom you’ve never heard of but I’m willing to bet you will soon enough.
Movie buffs might know the title from a film starring Antonio Banderas that didn’t get a lot of play when it was released 19 years ago, but the creatives behind the stage adaptation understood its musical theater potential and crafted a feel-good diversion that’s both emotionally engaging and infectiously dance crazy.
There’s so much dance in fact, three choreographers are credited. Director Christopher Gattelli – doing double duty – along with co-choreographers Maria Torres and Jennifer Weber came up with an electrifying blend of polished ballroom, free-spirited hiphop, and breakdance gymnastics that’ll wow you from beginning to end.
As for that beginning, Gattelli designed a dynamite opening for the show with a jolt of explosive percussion accompanied by spotlights illuming each of the dancers in quick succession. That’s the introduction to the multi-talented kids who make up the young stars of Take The Lead. All different sizes and shapes but equally gifted, they are presented in stark contrast to the beautifully lithe ballroom dancers gracefully whirling across the stage.
Gattelli, who choreographed the original production of Newsies on the same stage, is the perfect director for this production with his proven ability to bring out the best in young talent. He gets maximum use of the many set pieces designed by Paul Tate DePoo III which provide ample room for the dancers to fly. Jen Caprio’s costumes ideally capture the class differences between the motley school kids and the uniformed ballroom dancers. And Justin Townsend and Nick Solyom’s pinpoint lighting amplifies the focus exactly where needed.
The book by Robert Cary and Jonathan Tolins is basically a by-the-numbers fairy tale with its fair share of contrivances. But it’s also filled with so much natural humor, warmth and wit, it manages to win you over. Aided immeasurably by the strong performances, the story follows Pierre Dulaine (Tam Mutu), a world class ballroom dancer who co-owns a dance school with his partner Alan (Matthew Risch). In a departure from the film, Dulaine is gay and initially painted as arrogant and elitist. That leads the two men to break up and forces Dulaine to reassess his priorities. The motivation is very clunky here and this part of the book needs some fixing.
Dulaine ends up teaching an art appreciation class in a South Bronx High School, described by the beleaguered principal Ariana Rey (Adrienne Bailon-Houghton) as a place “that could make Mister Rogers flee the neighborhood.” Predictably, it’s a rough start, and when Dulaine proposes his plan to teach ballroom to these urban street kids, of course it doesn’t fly. Eventually, they all come around and the climactic ending features the kids competing in a ballroom dance competition. Yes, it all sounds hopelessly cliched, but the writing is tight enough; and given all the other elements, it has an undeniable charm that proves irresistible.
Composers Elliah Heifetz and Zeniba Now are versatile artists, comfortably writing rap songs aimed at appealing to younger audiences along with a handful of gorgeous ballads that suit the older crowds.
The songwriters are blessed to have a first-rate nine piece band led by Geoffrey Ko who did the bravura orchestrations along with Bill Sherman. It all comes together with some truly gifted voices in this company. Among them, the dynamic Bailon-Houghton as the principal, soulfully singing “My Kids”; and Savy Jackson who’s sensational as young La Rhette delivering the plaintive “Better Off Alone” with lovely shades of vocal color. Vincent Jamal Hooper, yet another major talent as troubled student Rock, is, as the Playbill describes, a most impressive “multi-hypenate artist”.
They’re all triple threats and each of them deserves a shout-out for their distinctive portrayals. Salome Smith in particular has immaculate timing as the no-nonsense Gucci; and as the big shy guy named Monster, Sequoia dazzles with some fancy moves of his own. On the upper class side, ballroom hotshot Morgan, the closest thing to a villain, is nicely played with snarky attitude by Jonalyn Saxer. And as Caitlin, the underdog who doesn’t fit in, Grace Slear gives us a rich kid to root for.
Tam Mutu, in fine voice, leads this excellent company with a commanding presence. As foreign as Dulaine must seem to the kids, he convincingly wins them over with a mix of charisma, empathy and good humor, pointedly assuring them that as a “European homosexual teaching ballroom dance to kids in the South Bronx, anything is possible”. By play’s end, he discovers that he needs the kids perhaps even more than they need him.
As far fetched as it all sounds, the real-life program Dulaine founded, teaching ballroom dance to inner city school kids in New York, remains a massive success. Called “Dancing Classrooms”, it’s exposed hundreds of thousands of students to the art of ballroom dance. And in the process, they’ve taken the first steps to learning self respect and discipline. It’s worth keeping in mind as you watch the musical, thinking this can’t be real.
The producers are likely aiming for a Broadway transfer. Not all that easy to do, but compared to getting a bunch of South Bronx high school kids to learn the foxtrot, and like it, I’d say the odds of achieving Broadway success with this big hearted gem are pretty darn high.
Take The Lead opened on April 6, 2025, at the Paper Mill Playhouse and runs through April 27. Ticket and information: papermill.org
