This new production of the original showbiz musical, 42nd Street is an iconic tap dance show with dazzling performances and abundance elegance and glitter. It offers a delectable reminder of a fairy-tale fused with spectacular almost continuous tap dance routines, classic songs including a hit parade of toe-tapping songs, including the title number, 42nd Street, ‘You’re Getting To Be A Habit With Me’ ‘I Only Have Eyes For You’ ‘We’re In The Money’ ‘Lullaby of Broadway’ and ‘Shuffle Off To Buffalo.’ The songs are interwoven into a classic romance, some backstage intrigue, and humour that makes the show a hit.
The storyline is based on a novel by Bradford Ropes published in 1932 describing the backstage life of the making of a Broadway musical titled ‘Pretty Lady’. In 1933 there was a Hollywood film adaptation of the novel. It was the 1980 Broadway stage musical that propelled 42nd Street to phenomenal success. The adaptation of the novel, by Michael Stewart and Mark Bramble, together with music by Harry Warren and lyrics by Al Dubin, directed and choreographed by the legendary Gower Champion, whose death 10 hours before the opening night, was announced to cast and audience only at the end of the opening night performance. 42nd Street, went on to win numerous awards and earned, apart from longevity on Broadway, an enviable box office success.
Jonathan Church’s direction with impressive choreography and effective set design by Olivier Award winners Bill Deamer and Rob Jones, complements the sheer joy of the performance throughout the evening.
The format of the narrative is rather simple – a play within a play. The core storyline echoes something of the classic fairy-tale Cinderella, combined with revelation of the tremendous talents that exist among understudies, a talent and hard work that remains hidden away from the limelight. Church manages to secure an almost seamless and almost perfect transition from one scene to the next. The songs often blend almost organically into the plot.
An advertisement for a chorus girl needed for the new show, Pretty Lady, attracts the attention of one young Peggy Sawyer, superbly performed by Nicole-Lily Baisden. Peggy, a young ambitious girl arrives from Allentown to New York city. She is naïve but bursting with enthusiasm and talent. Classic romantic flirtations with Billy Lawlor (Sam Lips), the leading tenor in Pretty Lady. Sam Lips, charms the young lady, and sings beautifully with her ‘Young and Healthy’; and as a leading tenor, his talent is voiced in other headline songs.
The prelude to the dramatic sparks that gently ignite when the young Peggy crosses the prima donna, Dorothy Brock’s path. Ruthie Henshall’s Dorothy Brock is just brilliant. Her presence effortlessly dominates the stage. Dorothy Brock is an actress that past her prime, yet she controls some essential stings constraining the director, Julian Marsh, in his choice of a leading lady. Henshall’s performance maintains that exquisite air of superiority and arrogance to be traced in stars and politicians who fight to maintain their positions. Her power is derived from her sugar daddy’s purse strings. Dorothy’s sugar daddy, Abner Dillon, financially backs the show. Anthony Ofoegbu’s Dillon presents a caricature of a buffoon, tall and coarse, befitting a popular show, he is a stereotype character contrasted with Pat Denning, elegantly performed by Michael Praed, a handsome tall, refined gentleman, with whom Dorothy is truly in love.
Julian Marsh, the director of Pretty Woman, is excellently performed by Adam Garcia, who embellishes his character with believable firmness and human frailties. He is the determined director whose touch of cynicism, with a good dollop of practicality, drives his production from possible disaster to becoming a success.
Maggie Jones, and Bert Barry are co-writers and producers of Pretty Lady. Josefina Gabrielle’s Maggie is energetic, funny and gives her character a new dimension. Her co-producer, acted by Les Dennis, is the quieter of the two, yet he complements Jones’s character.
The whole ensemble performed exceedingly well. The show scatters a dust of optimism for the young and dreamers. It has the hallmark of an old-fashioned musical, and while I must confess, I am not a big fan of musicals, the bright elements of this production, are enjoyable tonic.