“Follow Me to the Party” at Theatre Three’s “Half Time”

Broadway missed the boat by bypassing “Half Time,” a well-crafted musical gem bursting with heart and soul. Luckily for Long Island, Theatre Three closes its noteworthy 54th Mainstage Season on a high note by producing the New York premiere of this hip-hop extravaganza. From the creators of the smash hits “A Chorus Line,” “Legally Blonde,” “The Wedding Singer,” “The Drowsy Chaperone,” and “The Prom,” this megawatt musical took Saturday’s opening night audience on a non-stop, riotous roller coaster ride from the moment the house lights dimmed right up to the dance-your-socks-off finale, “Gotta Get Up.”

Based on Dori Berinstein’s 2008 documentary “Gotta Dance,” the eponymous 2015 stage adaptation had its world premiere at Chicago’s Bank of America Theatre. In 2018, a revamped, revised, and retitled “Half Time” had its East Coast premiere at the prestigious Paper Mill Playhouse in New Jersey. This upbeat two-act musical, with a book by Chad Begeulin and Bob Martin, music by Matthew Sklar, lyrics by Nell Benjamin, and additional music by Marvin Hamlisch, is one of the most delightful, life-confirming shows you’ll ever see.

Although this is a 21st-century musical, with its “show within a show” conceptualization, it plays like those classic Broadway musicals and Hollywood movies we all know and love, such as “42nd Street” and “White Christmas.” The show is based on the true story of a New Jersey basketball team’s marketing efforts to assemble a senior dance team to perform during halftime. Only after making the cut does “The Nifty Shades of Grey” team realize they won’t be performing routines based on tap, salsa, ballroom, or swing dancing; instead, they must master hip-hop, an energetic and rhythmic dance style that originated in the early 1970s on the streets of the South Bronx.

Pulling off a show with an enormous, multigenerational cast calls for a powerhouse director who is one-part artistic genius, ensuring the performers and the multiple theatrical moving parts mesh with each other, and two-parts traffic cop just to keep the onstage traffic flowing. The gifted Jeffrey Sanzel fits the bill, and under his astute direction, every aspect of this production was sheer perfection.

To accommodate the large cast, Randall Parsons wisely designed a wide-open set, artfully framed by magnificent towering lights, allowing Lighting Designer Robert Henderson, Jr., and Associate Lighting Designer Emmanuel Delgado to accentuate the play's ever-changing moods by their precise choice of colors. Indigo Shea's onstage projections of the senior's TV interviews added a touch of realism to the production, and the colorful costume designs by Jason Allyn, along with the high-voltage choreography by the talented Josie McSwane, came together to make this show a visually stunning treat.

The older cast members all performed outstandingly in their respective roles. Nikki Sislian stole the show with her fiery depiction of the hot tamale Camilla. During the Latin-infused, anti-aging anthem “¿Como No?,” Sislian, all decked out in a skin-tight red dress, provocatively danced the salsa, while singing the praises of having a lover half her age.

Candace McCready rocked the role of Dorothy, a shy, quiet Kindergarten teacher who morphs into a hip-hop aficionado when her alter ego, Dottie, takes over. McCready thrilled the audience with her energetic delivery of “Dorothy/Dottie.

Linda May received some of the biggest laughs of the evening with her depiction of Bea, a grandmother with spunk and attitude, who drives her granddaughter crazy during their car rides together. May also showcased her stellar vocals during the three versions of the hilarious song, “Princess.”

As the strong-willed, boundary-violating Joanne, Lisa Greene had the audience in the palm of her hands with her spot-on delivery of “Too Old for This.” Three other standout performers were Mary Ellin Kurtz as Estelle, Marci Bing as Muriel, and Denise Lardi as Fran.

The show has several heartrending scenes, including Phyllis March’s riveting performance as Mae, a kind woman with a terminally ill husband. March’s moving delivery of the poignant song “The Waters Rise” was one of the show’s high points.

Jack Seabury was believable as Ron, a widower and the only male dancer on the team. Seabury captivated the audience with his spirited rendition of “The Prince of Swing,” and there was a beautiful onstage moment when Ron, desperately missing his deceased wife, imagines himself passionately dancing with her one last time.

The young cast members were equally impressive, including Colleen Brit as Alison Prager, the former dancer turned uptight marketing director, and Cassidy Rose O’Brien as Jenny. Tina Ann Aurora commanded the stage as Tara, a former dance team member who now coaches the senior dance team. Aurora is a first-class singer and dancer, and she displayed those talents with her solo, “They All Get to See That.”

Anna Moceri delivered an award-worthy performance as Bea’s entitled granddaughter, Kendra. Moceri is a multitalented performer who can act, sing, and dance up a storm. Yashaun Harris brought his A-game to the role of Anthony, Kendra’s love interest, who happens to be married, but reassures Kendra that he plans to divorce his wife sometime in the nebulous future.

The phenomenal ensemble includes Julia Albino, Will Logan, Melina Piervencenti, Isabella Scarpa, Michelle Shapiro, Katy Snair, and Ryan Van Nostrand.

Since “Half Time” never reached the Great White Way, this musical could fall into obscurity. Wouldn’t it be wonderful if Theatre Three’s creative efforts inspired other regional and community theatres to produce this musical, giving it a second chance to develop a dedicated fan base? Then we can all shout, “Theatre Three really is ‘Broadway on Main Street!’”

With timeless themes like "age is only a number," "follow your dreams," "the importance of teamwork and loyalty," and "how hard work, determination, and grit pay off big time," it’s no wonder why at curtain call, the audience jumped to their feet to give a long, heartfelt standing ovation.

This funny, fast-paced, fantastic show runs through June 22, 2025. To purchase tickets, please call the box office at 631-928-9100 or visit www.theatrethree.com.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of "Grant Me a Higher Love," "Why Good People Can't Leave Bad Relationships," and "Confessions of a Reluctant Long Island Psychic." Her full-length Music Drama, "Beethoven, The Man, The Myth, The Music," is published by Next Stage Press. www.Grantmeahigherlove.com.