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The creative categories offer much to celebrate: Andy Blankenbuehler's swing choreography for "Bandstand," Santo Loquasto's lavish costumes for "Hello, Dolly!" (the hats alone are prize-worthy), Mimi Lien's ambitious and explosive set for "The Great Comet".
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Emma Brunton's choreography swings between stasis and hyperactivity, the chorus often synched with comical precision to Rossini's music.
There are moments of stillness and floor work in which the dancers mirror each other, but much of the choreography swings from side to side in a way that is ultimately sapping.
The choreography certainly did swing.
Performed under canvas with a revolving stage encircling half the audience, the Underbelly/Cameron Mackintosh production is a masterclass in close-harmony singing, funky choreography and back-beat swing.
When the music switches to Handel, they knit their bodies together in choreography that includes a swinging lift and a softer spirit, yet something about them, and the work, remains apathetic.
White-clad dancers in an all-white room moved through swaying and swinging sequences recalling the no-nonsense choreography associated with the Judson Dance Theater of the 1960's.
And wearing sociologically exact costumes by ESosa, they execute Ronald K. Brown's choreography (which weds 1930's swing steps with African ritualism) with pleasing confidence, particularly when the sexes face off in "A Woman Is a Sometime Thing" (led by the likable Joshua Henry, late of "The Scottsboro Boys").
Mr. Feld's boisterous choreography abounds with vigorous kicks, arm swings and shoulder shakes.
A series of duets reduces the choreography to crotch-exposing kicks and leg swings.
Jack Cole's choreography offers some of the most incisively swinging musical numbers ever filmed, notably the strenuously geometric "Ain't There Anyone Here for Love?," featuring Russell and the entire male Olympic team.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com