42nd Street

Based on the book by Michael Stewart and Mark Bramble the music of Harry Warren lyrics by Al Dubin. It is always a nostalgic treat to hear certain well known songs, it is also easy to forget where they originated, a lot of the great show tunes certainly got together to collectively assault the senses in this show.

I must first say what an amazing job Choreographer and Director Olivia Birkin ably assisted by her father Ian did, taking this many none dancers to this level of performance which they gave in such a short time was simply astonishing, the whole cast tapping its way through some truly memorable show songs was wonderful to watch.

A hugely stylistic production, even had nods to Busby Berkeley extravaganzas at times. It tells of a young hopeful dreaming of the big time, getting her opportunity for stardom. Of course there's the unrequited love interest and mix ups, all par for the course.

Taylor Ford as Peggy Sawyer our hopeful hoofer is pitted against diva Dorothy Brock played to par excellence by Izzy Pestridge whose demands drive the production crew to absolute distraction.

All of the action seamlessly interspersed with the wonderful soundtrack of classic Broadway hits, Dames, We're In The Money, Lullaby Of Broadway, 42nd Street. Very stylish indeed. I must state for the record I absolutely love swing music, so this was literally right up my strasse.

The visuals were spectacular at times, the well schooled cast showed their stage craft even when not directly involved in the dialogue, always lots of interesting depictions of back stage happenings, lines running, dance routine practice, all adding to the event without distracting from the flow of the story line.

All of the young cast acquitted themselves really well, great accents throughout, Ella Zaveckas and Miranda Gresty as Maggie Jones and Anytime Annie Reilly excelled.

Lighting was sublime especially in the big production numbers, as to the sound so dramatically improved with the new system in the theatre. Great use of the auditorium for entrances and exits, back drops gave an authentic glamorous look to the production as did the costumes footwear in particular on era.

If Stoke Youth was a football team I would be bandying about cliches like there's no tomorrow, to say that Stoke Youth have strength in depth is an understatement, as each year goes on the next generation are in the chorus learning their craft and performing chops, then as the older guard moves on to university, there they are ready and primed to step up and take those lead parts, a glowing testament to the organisation behind the group in continually developing their future performers.

Even the curtain call was beautifully choreographed. This was a glamorous yet gritty, elegant look into 1930's make or break shows coming on the back of the great depression - Tap Fest.

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