AUBURN - This Wednesday they're going to dance like it's 1929.

When the Merry-Go-Round Playhouse production of “Thoroughly Modern Millie” premieres that night, audiences will be swept up in the then-forbidden dancing styles of the Roaring '20s.

The show - adapted from the 1967 film of the same name starring Julie Andrews - tells the story of Millie, a midwestern girl who moves to New York City in the early 1920s to marry a wealthy man. She gives herself a flapper makeover and befriends Jimmy Smith, a poor paper clip salesman, and cabaret singer Muzzy van Hossmere. As Millie's affection for Jimmy grows, their relationship is jeopardized by both his apparent romance with Muzzy and Millie's aspirations to marry her rich new boss, Trevor Graydon III.

“You got your typical musical theater story of boy meets girl, boy loses girl, boy gets the girl back with the comedic villain,” said choreographer Jennifer Turey. “But that whole time was so glamorous and full of life.”

Perfecting the show's lively musical numbers presented Turey and the cast with a mighty physical and mental challenge. She started by watching the show's original Broadway production to see how it made use of the Charleston, tap and tango styles that swelled in popularity in the '20s.

“They could move their bodies closer, and the tempos and rhythmic patterns of social dancing were faster,” she said.

Turey also watched films from the '20s and vintage footage of the time period on YouTube to acquaint herself with not only the dance styles, but the spirit of the time.

“Women were first allowed to vote and there was more freedom in society, so it created more freedom in the choreography,” she said.

As she started to plan the choreography for the Merry-Go-Round's version of the show, Turey saw the chance to spruce it up. She collaborated with her dancers to construct routines during rehearsals.

“She has such faith in us, and it takes a load off to know that if we don't get something right one day, we'll do it 80 percent better the next,” said performer Stephen Carrasco.

One noticeable departure from the Broadway run of “Thoroughly Modern Millie” is Turey's heavier emphasis on tap dancing. She added tap to the opening number, also called “Thoroughly Modern Millie.” Setting the tone for the whole show in that sequence also gave Turey more trouble than any other scene.

“It accurately portrays the time period and summarizes the whole show. It's like an updated version of old musicals,” said performer Michael Hildebrandt.

The “Speed Test” uses the dancers' tap steps to signal each keystroke as Millie is typing to try-out for her stenography job working for Graydon at the Sincere Trust Insurance Company.

“There's so much tapping,” said cast member Laura Danelski. “Jen has done a really good job keeping it intact and adding her own style to it, and I think the audience will love it.”

Carrasco is most fond of performing in “The Nutty Cracker Suite,” which takes place in a speakeasy, “Because it's naughty and fun and it's something you don't get to touch on in the other numbers - that lawbreaking side of things.”

Performer Mackenzie Bell favors “Forget about the Boy,” the scene in which Millie shakes off her feelings for Jimmy in light of his apparent relationship with Muzzy.

“It's so fun, and we get to act all angry,” she said.

In addition to the special demands of the '20s dance styles, “Thoroughly Modern Millie” requires particularly tough harmonies from its performers.

“You really have to keep your stamina up,” Danelski said.

Several ensemble players were still performing in “Peter Pan” as “Thoroughly Modern Millie” approached, so finding time to master their moves and notes was its own challenge. Many would even rehearse backstage or outside the Playhouse between their cues.

“We do what we can because we have to know it,” Carrasco said. “But we've stayed up until many a wee hour.”

Staff writer David Wilcox can be reached at 253-5311 ext. 245 or david.wilcox@lee.net