Very sassy 'Sophisticated Ladies' at Gateway Theater

And so, the professionals are back in town. And are they ever back, in the dynamite, electric and thrilling mounting at the Gateway Theater of “Sophisticated Ladies,” the 1981 very high stepping revue of an evening of Duke Ellington music that ran for more than 700 performances on Broadway in its original incarnation.

It has been revived endlessly since then, usually with many modifications. But there’s nothing modified about the Gateway production. In fact, if anything, this is an intensification of a show that plunges forward like a runaway train from its overture to its final, rip roaring finale. “It Don’t Mean a Thing If It Ain’t Got That Swing,” the stars and ensemble reprise at the end, and this production swings every second of its running time.

This is Gateway’s 60th season, and if its launching show is any evidence, it’s not showing its age at all. In fact this stage full of astonishing singer/dancers are treating “Sophisticated Ladies” as if it had been freshly minted and mounted this afternoon.

Much of this can be credited to Chet Walker, who, trailing a comet’s tail of credits from Broadway and elsewhere, including “A Chorus Line” and “Fosse,” directs and choreographs the goings on with refreshing inventiveness that incorporates a treasury of tap setting the songs in their proper and best time period. He never lets a silent moment occur, and fills the stage with a plenitude of challenging and original choreography into which his virtuoso cast plunges headlong and feet flying.

Once again, Robin Jay Allen has assembled a priceless cast, every one of whom is a gem in his or her own way. The ensemble is as precisely tuned as a fine watch, and yet each is a memorable individual. This critic was particularly taken by the statuesque Liz Patek, but everyone in this tightly packed chorus is impressive, from the black and white 1930s movies evocation of “Sophisticated Lady,” to the wild and woolly jitterbug number, to the multiple combination jazz and tap spirit-raisers.

The principals all shine in individual ways. Jennifer Byrne gives the dance party vocal variety early with a socko rendition of “Hit Me with a Hot Note,” then scats with Jon Peterson through the rightly titled “BliBlip,” then joins him with an elegant “Satin Doll.” By himself, Jon Peterson lights the proceedings with a nicely sung “Everything but You.”

Carly Hughes has an arresting, multifaceted voice and personality, able to handle the contrasting “Take the A Train,” the touching sweetness of “In a Sentimental Mood,” and, with Jennifer Byrne, a medley of “I Got It Bad and That Ain’t Good” and “Mood Indigo.”

Francesca Harper is an astonishing dancer with endless extensions who dances hot in the “Love You Madly” and “Perdido” coupling, and cool in “Solitude” and “I’m Beginning To See the Light.” Whenever, she’s poetry to see.

Eugene Fleming is the classic master of tap, which he shows off with spirit and finely honed skill in “Music is a Woman,” “Don’t Do Nothin’ Till You Hear From Me,” a batch of production numbers, and his own self-choreographed second act solo tap, “Kinda Dukish.”

These are only random selections. The entirety of the charismatic holding power of the show is its greatest quality. Musical co-director (with Jeff Hoffman) Brendan Whiting conducts a swinging onstage band. Brittany Loesch, illuminated by family member Brian Loesch, has designed an exciting kaleidoscope of eye candy color and swiftly sweeping curtains. B.G. Fitzgerald’s costumes run the swift and demanding race between wild and sophisticated with exquisite grace.

For an exciting theater evening that will make you exit singing and smiling, “Sophisticated Ladies” is just the right bubbling tonic to take you out of the winter and into the spring. Don’t miss it.

“Sophisticated Ladies” continues every night but Monday and in several matinees a week through June 13 at the Gateway Playhouse in Bellport, 20 minutes west of Westhampton. The box office number is 286-1133.