42nd Street

42nd Street began as a novel written by Bradford Ropes in 1932 and was adapted into a Hollywood film in 1933. The movie starred Ginger Rogers in one of her first roles. In 1980 producer David Merrick adapted the film into a stage musical. This was attempted before but failed at the Box Office, however this time it was a success, winning the Tony Award for Best Musical and running for nine years. In 1984, it came to London winning the Olivier Award for Best Musical. A West End revival in 2017 was just as successful also winning an Olivier for Best Revival. The show follows Peggy Sawyer, who arrives in New York from her hometown of Allentown with dreams of performing in a Broadway show. Julian Marsh, casts her in the chorus of his latest production, Pretty Lady. Dorothy Brock, the show’s leading lady, suffers an injury during the show’s previews, Peggy Sawyer steps up and saves the show.   It is one of the original shows within a show!

This show is a huge undertaking for any group, with its massive ensemble dance numbers, and the need for proficient tap dancers. BMYP did a fantastic job, rose up to the challenge and maintained their usual high standards. Director and Choreographer Vicki Klein did a fantastic job capturing the feel of a classic Broadway show throughout.

The set design used the backstage workings of the Olympus Theatre, keeping the lighting riggings visible, and the stage bare, with just 2 period stage lamps in situ down stage. Side entrances used some appropriately decorated flats for masking. Projections were mainly used to denote scenes with small pieces of set wheeled in on trucks. These were used well for Miss Brock’s dressing room and in reverse for the train in ‘Shuffle Off to Buffalo’. The projections were of a very high standard and did not bleed onto the performers. On arrival the show logo was projected into 2 sliding trucks centre stage, which also gave the impression of stage Tabs, and were wheeled in and out distinguishing between backstage and onstage. This was used several times quite effectively to manage this.  In general, scene and set transitions were very well managed by cast and cleverly disguised crew too. Nice work.

The Lighting was effectively designed for the period of the production. The two side lights were a key feature from this period and were very well used. Quite a lot of smoke was used for the haze effect too for the lighting – perhaps a little too much on occasion! An excellent use was made of the follow-spot too – with Julian Marsh’s solo particularly effective.  Overall, the lighting supported the overall production and the excellent dancing quite well.

Microphones were well managed throughout and generally the balance was good, however there were times when dialogue was underscored that we did lose some words. With the show being so dance heavy, it may have been an idea to lower the individual microphones in the longer dance breaks as there was some very loud breathing at times which is completely understandable with the dancing the cast were undertaking.  With tap dance a central feature in this show, it may also have enhanced things to add some floor microphones, to really get the clarity of the tapping through.  

The 7-piece Orchestra were elevated at the back of the stage, with video link to the cast and were skilfully led by Brendan Casey. They really enhanced the feeling of a big Broadway show. The balance as mentioned was generally very good, apart from a couple of moments with underscoring the dialogue.

A real feature of this production was the outstanding costumes, there were so many very quick changes all managed admirably by the costume team. Visually it was a feast for the eyes. Every costume was in keeping with the period. Wigs and make up also fully in keeping. I noticed the 1930’s eyebrows as well!! Well done to your costume team.

In reviewing the principal performances, there are so many named parts that we’ve focussed on the main six and the featured dancers:

Julian Marsh: This is a tricky role, you have to be quite unpleasant but still likeable, and you got this balance well. Your final song was just lovely.

Peggy Sawyer: You captured this infectiously keen and naïve character so well. A triple threat performer, really strong performance.

Billy Lawlor: An outstanding performance, you have such an ease of movement and a lovely quality to your dancing particularly suited to this role and this style of musical.

Dorothy Brock: An excellent portrayal of this Diva. It’s not an easy role but you captured her character so well. I loved the duet with Peggy in the 2nd half.

Maggie Jones and Bert Barry: A great partnership, and you managed to get the most out of the comedy moments. Strong performances - well done.

The featured dancers Annie, Phyllis, Gladys, Diane and Lorraine all did a fabulous job, with some great dancing, along with the remainder if the ensemble. This show is a massive ensemble piece, and the entire cast took the show from one great number to the next, every single member working extremely hard in developing their individual characters .Highlights for me” We’re In The Money” but perhaps those coins should have been a little bigger as there were a few stumbles,  “Shuffle Off To Buffalo” “Dames” (really well done here, chaps) and obviously the Finale. 42nd Street is all about the choreography and it was so well drilled and carefully thought out. I was so impressed with everyone getting their tap shoes on and tapping to the best of their various abilities, well done everyone.

© NODA CIO. All rights reserved.