So far, only two cast-members are definite for the Broadway transfer of this summer's On The Town revival: Lea DeLaria and Jesse Tyler Ferguson. Complete casting is expected by the end of January.

DeLaria received a rave from the NY Times and has since been a visible presence on the NY theatre scene, co-hosting the recent Gypsy Of The Year competition with Jonathan Hadary.

The hit summer 1997 Central Park staging by George C. Wolfe will begin Broadway previews April 7 at the St. James Theatre, with an opening set for April 26. (There have been uncomfirmed rumors that High Society will go into the St. James instead, but Bill Coyle, spokesperson for the NY Shakespeare Festival/Public Theatre, had not heard those rumors and reaffirmed Town's placement there. The Boneau/Bryan-Brown spokesperson for High Society could not be reached at press time.) The St. James was vacated Jan. 4 by A Funny Thing Happened On The Way To The Forum.

Public Theatre spokesperson Coyle told Playbill On-Line (Nov. 4) that Christopher d'Amboise, a principal dancer at NYC Ballet who had been working on the Broadway-bound High Society, is Town's new choreographer. Eliot Feld, who staged the dances at the Delacorte, has left the production, by "mutual" decision. Feld previously told The New York Times his decision was based on his full schedule -- his ballet company begins its new season in March 1998. "I gave up one season," he said. "I can't give up two." Feld wouldn't deny, though, that the mixed reviews of his work didn't contribute to his decision.

The NY Times reported that Town will essentially remain a NYSF production, with Lion, Roger Berlind and Scott Rudin -- who put up enhancement money for the Central Park staging -- contributing money as co-producers rather than co-managing the show. Jujamcyn, which also added enhancement money, will not co-produce. Wolfe told the Times a major reason he wanted to bring Town to Broadway was simple that staging the show, "was one of the most joyful musical experiences I ever had."

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On the Town, a bouquet to the lost New York of the 1940s, hasn't had a major NYC revival since 1971. Directed by New York Shakespeare Festival head, George C. Wolfe, the multi-ethnic production ran through Aug. 31 at the Delacorte.

The 1944 show, about three sailors who try to cram a lifetime of New York experience into a single 24-hour leave, has music by Leonard Bernstein and book/lyrics by Betty Comden & Adolph Green.

The cast of the summer Town included a handful of actors from currently running or recently-closed shows. Jose Llana, having just left The King and I, was featured as one of the sailors in the Bernstein/Comden/Green classic. He's now in Street Corner Symphony. Also joining the Town were Mary Testa, who will left the role of Domina in A Funny Thing Happened on the Way to the Forum July 13, and Andy Blankenbuehler, who was previously in the chorus of Steel Pier. Another Town-induced departure was Blake Hammond, who left Howard Crabtree's When Pigs Fly. Titanic's musical director, Kevin Stites, did the same duties on Town.

Other Town cast members included Ferguson, DeLaria, Rachel Alvarado, Carol Bentley, Nora Cole, Nickemil Concepcion, Karl DuHoffmann, Byron Easley, Luiz Ottavio Faria, Ivy Fox, Jonathan Freeman, Darren Gibson, Annie Golden, Clay Jackson, Keri Lee, Joanne McHugh, Robert Montano, Linda Mugleston, Sophia Salguero, Kate Suber, Glenn Turner, Patricia Tuthill, Jassen Virolas, Chandra Wilson and Margaux Zadikian.

Designing Town were Adrianne Lobel (set), Paul Tazewell (costumes), Paul Gallo (lighting) and Jon Weston (sound). Dance notable Eliot Feld choreographs (six of the show's dancers trained at Feld's Ballet Tech) to orchestrations by Bruce Coughlin.

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Here's the backstory on Feld/d'Amboise:
According to a story in the NY Daily News, soon after the Delacorte opening, Feld offered to bow out of the production if the show comes to Broadway. New York Times critic Ben Brantley gave the production a mixed review, with glowing notices for newcomer actress DeLaria, and criticism for Feld's work. If the same Times critic were to review the Broadway transfer of Town, the thinking goes, the show might have trouble attracting audiences. According to the News story, Wolfe has neither accepted nor rejected Feld's offer.

Asked about the Feld story, Public Theatre spokesperson Carol Fineman told Playbill On-Line (Aug. 21) that since any Broadway move of Town was still purely speculative, "at this point, to talk about what those choices are is premature. Once we get to the place in discussions about a move where it's appropriate, then we'll let everyone know."

Talk of a Broadway transfer of town has been in the air for so many weeks now, theatregoers may be surprised that the move is far from a simple question of picking Town up off the Delacorte and planting it in a Broadway house. "It has to be redesigned," said Fineman. "The set is mammoth. It's not like Tempest or Noise/Funk, where we could just move what we had. It'll have to be rethought."

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The first NYSF musical in Central Park since 1985's The Mystery Of Edwin Drood,On The Town served as a celebration to mark the finish of NYSF's Shakespeare Marathon.

Comden and writing partner Green were on hand at Manhattan's Lincoln Center Triangle Barnes & Noble, July 21, to discuss their work on the original production of On The Town. Together the team is responsible for Wonderful Town, The Will Rogers Follies, On the Twentieth Century, and the film of Singin' in the Rain, among many others. In the audience July 21 was original cast member Milton Taubman, who created the role of S. Uperman.

More than a hundred people crowded into the performing arts department of the bookstore to hear the discussion and have copies of Comden and Green's book, The New York Musicals of Comden and Green, autographed. The audience, filled mostly with seniors, made a striking contrast to the relatively young cast-members also onhand. Shirley Fishman, a NYSF dramaturg, moderated the discussion.

"We started working and became an act at the Village Vanguard in 1938," an act that included Judy Holliday, Green began, "I ran into her on the street, I didn't even know Betty quite that well, and I said to her, 'Can you do a one-nighter at a place called the Village Vanguard?' We told her that we'd get five dollars a piece and best of all, none of her friends would ever have to know about it," Green said.

"We couldn't afford to buy material," Comden added, "So we often say we chipped in and bought a pencil, and that's the way we started to write as well as act."

After choreographer Jerome Robbins and composer Leonard Bernstein's success with their ballet Fancy Free, "two young producers said that they should do a full length show. Leonard said he knew just the people to do the book and lyrics -- us," Comden explained. "Well nobody had heard of us. We were reduced to being an act of two, playing at a place called the Blue Angel," said Comden, "And we had never written a show!" Green interjected.

Comden and Green got the job, "and wrote ourselves two fat parts," Comden said, "We thought, that show, we could get into because we knew the authors. Even so, we had to audition for George Abbott."

"Tell us all about the document that you drew up for us and we signed," Green told Comden.

"The first day that we met up in my apartment, Lenny [Bernstein] and Jerry [Robbins] and the two of us, I had a long yellow pad and wrote at the top 'credo' and we wrote down the principles that we were going to adhere to in writing this first show," said Comden, "We wanted everything to work as an integrated unit, songs and dancing and story all growing out of one and other. We didn't want to do anything pretentious, or anything false or anything blown-up." That document is now in the Library of Congress.

The creative team and company had only 10 days to work with director Abbott in Boston before opening in New York. "We wrote a song out of town called 'Some Other Time'," Comden remembered, "And on a very snowy night in December we looked for a place to rehearse it and we were in the window of a music store right on the Commons. Lenny was at the piano and taught us the harmonies," a song that Oscar Hammerstein later told Green he wished he had written.

As both writers and performers, Comden and Green had a very rushed and stressful time before opening. "We were unable to appreciate all the excitement and all the beauty of what had happened to us, we were worrying about losing a laugh, and that's what it is to be an actor," Comden said.

December 28, 1944: "It was a wonderful opening night at a theatre the Shuberts had got us into called the Adelphi, and had never had a hit play in it. 'House of Flops,' it was known as. It was terribly exciting," said Green.

"The day before, we were relatively unemployed night club performers, and the next morning we had a hit on Broadway," said Comden, "New Year's Eve of the year before. . . we got a job in Las Vegas. We opened, we did the first show, and we were fired. The following New Year's Eve On The Town was running. That was a terrific change in our lives."

For some of the 1997 cast members, appearing in On The Town is also "a terrific change" in their lives. Many acknowledged this production to be "a big break" and " a dream come true."

Green emphasized how excited he was about the new production -- enthusiasm echoed by cast member Llana. "After rehearsing the work for seven or eight weeks now, I see the vitality and I see the excitement that they wanted to express about New York City, being the youths that they [Comden and Green] were when they wrote it," said Llana, who plays the sailor Gabey, "It's such a privilege being young and in New York City and it completely mirrors how we feel about life and about New York City," said Llana.

Cast members also praised director Wolfe. "What's exciting about it is being on Broadway with George Wolfe in a Comden and Green show," Lea DeLaria, the stand-up comic who plays Hildy told Playbill On-Line, "Comden and Green virtually define the American musical in the 20th century, they're legends, and so is George. C. Wolfe."