42nd Street

The high-kicking, fast-tapping ‘42nd Street’ transports us back in time to see a fabulous musical within a fabulous production.  Set in 1930’s New York we find big-time producer Julian Marsh (Dan Wilkinson) trying to bring a brand-new show to the stage.  The show ‘Pretty Lady’ is written by Maggie Jones (Lisa Kendall) and Bert Barry (Lee Caddick) and is set to be a hit, but the show needs funding and a star attraction which arrives in the shape of a diva in the twilight of her career Dorothy Brock (Nicola Duval).  However, Brock has monied connections and with a dynamite chorus working hard on their routines all looks set for potential success.   Then newbie Peggy Sawyer (Isabelle Sahara Yates) joins the chorus, and Marsh gets a little more than he bargained for when her clumsiness brings down the diva.

To pull this show off you need a talented cast prepared to be consumed by these larger-than-life characters and LMTC had that along with the other essential ingredient – amazing choreography and an ensemble with dancing feet.  From the opening number ‘Audition’ it was clear that the ensemble was going to give us a show to remember with intricate moves and enjoyable, fast paced routines.  Choreographer, Dani Sampson, had worked the team hard and it was brilliant to see so many LMTC members showing off tap dancing skills.  Even the routines where mistakes are meant to happen worked perfectly and it was a joy to see. 

The show features several roles calling for strong character performances and these were ever present.  Pete Mayson played the charmer Pat Denning and Joe Boswell was Abner Dillon - the ‘cash behind the company’ who only had eyes for Brock.   A mention must go to Wendy Prew playing rehearsal pianist Dora, complete with knitting and a fabulous range of facial expressions to match the on and off-stage drama she was quietly witness too.  Tamsin Kendall and Holly Martin as chorus girls Phyllis and Lorraine were wonderfully excitable with strong delivery and excellent dance moves.  Shelley Henry was a convincing Andy Lee, the companies dance lead, who showed strong tapping and movement to add to her overall easy stage presence and comfortable delivery.  Edie Butterfield was an utter delight at Anytime Annie with character, sass and wonderful physicality throughout.  She really was perfect in this role.

Jacob Whitehead as Billy Lawlor, the handsome leading man within the company, had a natural ease and great delivery of his numbers, particularly in ‘Dames’ with the confident male ensemble.  Whitehead had a loving rapport with Yates as Peggy Sawyer and they looked great together.  Great comedy was brought to the piece by Kendall and Caddick – both of whom have super comedic presence and fabulous pace to keep the story moving and to switch comfortably between the ‘on and off stage’ moments in the production.

Even amongst this great cast the show really belonged to Yates, Duval and Wilkinson with their excellent acting and great vocals.  As the inexperienced newbie Yates moved from naïve vulnerability to composed performer showing a wonderful transition and character growth.  She was sweet, caring and easily able to demonstrate her triple threat abilities without coming out of character – she is a wonderful Peggy Sawyer.  Duval as Brock is the archetypical stage diva – confident, poised with total class.  Her gestures and facial expressions never strayed from her character and she owned the role of Dorothy Brock with composure and talent in abundance.  Julian Marsh is an integral part of the storyline and one which it is important to get right -Wilkinson did this perfectly.  He was the strong and sharp director, but also allowed his growing feelings for Sawyer to penetrate through his tough exterior.  The final ‘42nd Street’ reprise was the perfect climax – a great performance from Wilkinson.

The set was cleverly done with great props and the ‘Pretty Lady’ front cloth was perfect.  The bus flat for ‘Shuffle Off to Buffalo’ was very impressive and well managed by the cast.   Lighting was well done and scene changes managed with pace.  Costuming shows from this period for a large cast can be a challenge, but the scenes looked good and it was pleasing to see that period style shoes were worn throughout.

There were so many great routines within this show that demonstrate a range of dance styles and the limitless creativity of Choreographer, Dani Sampson.  The final number of ‘42nd Street’ is a huge challenge both vocally and for the dancers, but the team carried it off and it was evident that Musical Director, Pete Lane had honed their vocal skills for this and all the numbers in the show.  Director, Ashley Booker, should be really proud of the show he and the Production Team created as it was exciting, and engaging with just the right level of emotion and bucket loads of talent.

A great evening’s entertainment – Congratulations to the everyone at LMTC for bringing this wonderful production to the stage.

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