Newsies soars and delivers at the Saenger

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“Headlines don’t sell papes. Newsies sell papes,” says Jack Kelly, fictional leader of the real-life 1899 New York newsboys strike in the Broadway hit “Newsies.”

At the Saenger Theater in New Orleans it’s the newsies themselves – dancing leaping, tumbling, tapping and singing – who sell the show, individually and en masse.

Based on the 1993 Disney movie, which became a hit Broadway musical and now tours North America, this incarnation of “Newsies” stands on its own two feet, from its sentimental but effective opening to its rousing finale.

Christopher Gattelli’s Tony Award-winning choreography includes seminal moments where the medium almost independently communicates the message of the show, on more than one level. The action, carried out on multiple levels of a breath-taking set, is at times almost overwhelming, but never interferes with overall enjoyment. It just gives the eyes lots of places to look.

Misses or lags in this production that a curmudgeon might detect are quickly and easily made insignificant by the triumph of talent that is the hallmark of this show.

The plot is fairly simple. In an age when the nation’s robber barons held vicious sway over the fortunes of the unfortunate – the focus here is on children selling newspapers, toiling in factories, and confined to cruel orphan asylums – newspaper mogul Joseph Pulitzer and his fellow publishers raise the price charged to newsboys, who rebel under the leadership of the aforementioned Mr. Kelly.

A David and Goliath-style battle of wills ensues in the form of a strike, with the sides of good and bad clearly defined for the audience.

There is no gray area here. Like the yellow journalism Pulitzer’s papers purveyed during New York City’s fabled turn-of-the-century publication wars, there is no room for balance. The bad guys don’t get redeemed, and the good guys, well, you’ll have to see the show to find out precisely what is in store for them.

Joey Barreiro plays Jack, having recently joined the cast during the tour, and he shines with a strong and clear whether singing or speaking, with a stage presence not only seen but clearly felt.

Alan Menken and Jack Feldman’s anthemic score remains fresh even at times of reprise.

“Letter From The Refuge,” a new song written specifically for the road version of the show, is appropriately sentimental given its context, and tenderly sold by Zachary Sayle, who plays the lame, orphan newsboy Crutchie with heart and verve.

Being well familiar with the 1993 Disney movie on which the stage show is based, I was wary of story changes that include a new character. The intrepid, gender-role breaking young reporter named Katherine is played by Morgan Keene – she is also Jack’s love interest – neither detracts nor distracts, but enhances the storyline and adds a dimension, as well as an Act II surprise.

Veteran actor Steve Blanchard portrays Joseph Pulitzer – unmistakably the bad guy here – with his talents that provide all the right hues for the role. Pulitzer and Jack play well off of each other, with just enough dramatic tension.

Stephen Michael Langton’s performance as Davey, the newly minted newsboy who becomes Jack’s mouthpiece and advisor, veers away from temptations of stereotype, Ethan Steiner played his little brother, Les, on opening night. (Another rugrat, John Michael Pitera, takes handles the role on alternating nights) Young Mr. Steiner has good timing, and is appropriately brash.

Each in their own way, performers with lesser roles give memorable performances, Benjamin Cook’s portrayal of a cigar-chomping newsie named Race – as in “racetrack” – premiere among them.

The exuberant finale melds into a curtain call that is a show-stopper in itself.

For those not yet fortunate enough to have experienced the landmark Saenger since its post-Katrina renaissance, “Newsies” is a great excuse to do so, for those fortunate enough to score tickets.

The bottom line – Pulitzer’s aptly demonstrated chief concern in the show – is that anyone who doesn’t come away smiling with at least one of the key songs rolling in the head, never intended to have a good time to begin with.

IF YOU GO SEE IT