'Swinging On A Star' Duly Celebrates One Of Musical Theatre's Shining Talents. By Howard Allen ONCE UPON A time, the standard Broadway musical looked a lot like Swinging On A Star, the current song and dance revue at the Arizona Theatre Company. Today's new Broadway musicals feature song numbers that advance plot and character, but most of American musical theatre history looks like Swinging On A Star: hit songs, some big production numbers, a stage band, some sketch comedy and a little dialogue. But we've been spoiled by the marvelous integration of all the elements in musicals like Lionel Bart's Oliver, Stephen Sondheim's Sweeney Todd, or Lerner and Lowe's My Fair Lady. So the temptation with the current ATC musical offering would be to blast it for being what it is--an old-fashioned musical revue, instead of the seamless musical story we're all expecting, say, from Evita, the movie, in a couple weeks. Well, get over your expectations and some of your prejudices. Swinging On A Star mostly deserved the standing ovation it received on opening night, and anyone who can appreciate musicians, singers and dancers of the highest caliber will appreciate the actors and instrumentalists in this show. Lyricist Johnny Burke is the reason director/writer Michael Leeds put this show together at the Goodspeed Opera House in Connecticut, where it began its trip to Broadway in 1995-'96. Of course, the Broadway musicals of the '20s and '30s could afford large casts and stage bands the size of a small orchestra. Those days are gone. They cost too much. But, including a short documentary segment in Act II with the likes of Lena Horne saying singers call Burke "The Poet." About three dozen of Burke's 550 compositions are organized by the era of American music they helped define: a speakeasy in Chicago, the Depression in New York's Bowery, a radio show during Your Hit Parade, a USO show in the South Pacific during WWII, a hotel ballroom, Paramount Studios during the Hope and Crosby Road To..., movies, and finally, a contemporary supper club. He collaborated with composers ranging from Jimmy van Heusen ("Road to Morroco" and the Academy Award-winning title song) to Erroll Garner ("Misty") to Arthur Johnston ("Pennies From Heaven," one of the best collaborations of music and lyrics ever). While nostalgia can add to one's enjoyment of the show, it's certainly not necessary. And in fact, some of the "good ol' days"--with women as objects and marginalized African Americans--make a couple brief appearances that may cause the politically correct to blanche. But it is part of our history and American music history. Not to worry. Musical director and pianist Jerry Wayne Harkey of Phoenix has put together an on-stage band so good they're worth the price of admission all by themselves: Lisa Meneley on synthesizer, Rene Camacho on bass, Wes Marshall on trumpet, Robin Horn on percussion and Greg Armstrong on saxophone, clarinet and flute, among others. The band works with great arrangements, great sensitivity to the singers and with costume changes and even a couple comic bits. Among the cast, Bob Sorenson of Phoenix is something of a revelation in this show. His famous comic talents are on display, but who knew he could sing and dance this well? As the announcer in the radio show, he works with Sally Jo Bannow's dippy Hollywood starlet to create the evening's best segment. Swinging on a Star runs evenings Tuesdays through Sundays through December 22, with select 2 o'clock weekend matinees, at the Temple of Music and Art, 330 S. Scott Ave. Tickets range from $23 to $32, with group discounts available. Call 622-2823 for reservations and information.

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