42nd Street

42nd Street is a dazzling backstage musical set in 1933 during the Great Depression. It’s a celebration of Broadway’s golden age, filled with iconic songs, high-energy tap dancing, and a classic underdog story. I must admit, 42nd Street is one of my all-time favourites, and taking my seat, I was genuinely excited to see what South Manchester AOS had in store for me. From the very first beat to the final bow, this production delivered a vibrant, heartfelt homage to the spirit of musical theatre.

From the opening number, the tap sequencing and timing were spot on. There was clear precision, control, and rhythmic sharpness in the performers’ execution of the crisp and snappy footwork. When listening to tap, you should hear clean sounds with zero drags, each strike distinct, and these performers certainly delivered. The ensemble’s tap work was tight and well-rehearsed, creating a thrilling auditory experience that matched the visual spectacle. If I were to offer one note, a deeper plié at the knees would have enhanced the bounce and rebound of the accents and travelling steps, giving the choreography even more dynamic lift and fluidity.

The opening sequence, “Audition,” filled the auditorium with energy and musical delight. The strong vocal projections from the ensemble made for an eye-catching moment, setting the tone for the rest of the show. This energy carried through the entire production. The ensemble was not only vocally strong but also impressively cohesive. What stood out most was their teamwork, they listened to each other, responded spatially within the performance space, and created a unified presence that elevated every scene they were in.

Ciara Booker took on the leading role of Peggy Sawyer, the small-town girl from Allentown who arrives in New York with just tap shoes and big dreams. Ciara brought Peggy to life with charm and sincerity, beginning as the naïve newcomer and blossoming into a confident, hard-working performer. Her vocals were powerful and captivating, and her dialogue was crisp and well-executed. While there were occasional issues with sliding, timing, and control in her tap steps, Ciara’s performance was heartfelt and engaging. She truly won the audience over not just as Peggy, but as a performer who radiated authenticity and warmth.

Peggy’s journey is shaped by her encounter with the commanding Broadway director Julian Marsh, played by Paul Allison. Paul brought a charismatic yet authoritative presence to the stage. Julian Marsh is a complex role, requiring a balance of gravitas and vulnerability, and Paul deserves high praise for navigating this duality. His portrayal revealed a tough exterior masking a deep love for theatre, and his scenes with Peggy were particularly compelling.

Of course, at the heart of 42nd Street is Dorothy Brock, the aging prima donna clinging to the spotlight. Helen Langan embraced this role with elegance and emotional depth. Her rendition of “I Only Have Eyes for You” was sung with tenderness and vulnerability, showcasing her ability to convey both pride and fragility. Helen’s performance was a standout, capturing the essence of a woman torn between her past glory and the reality of fading fame.

Billy Lawler, the charming, featured tenor, didn’t quite command the spotlight as one might expect from such a pivotal role. His character occasionally felt overshadowed within the ensemble, and the decision not to have him perform the show-stopping number “Dames” seemed like a missed opportunity to highlight his charisma and vocal strengths though this may well have been a deliberate directorial choice to shift focus elsewhere. To elevate the role further, a stronger emphasis on stage presence and clearer character definition could help bring out Billy’s natural charm and ambition more vividly. In contrast, Ryan Brown infused the stage with flirtatious, enthusiastic energy, particularly in his scenes with Peggy. His impulsive charm added a playful and engaging dynamic to the production, offering a lively counterbalance to the more grounded characters.

Pat Denning, portrayed by Loui Quelcutti, was delivered with warmth and a gentle charisma that suited the role well. However, there’s room to explore a deeper emotional contrast particularly the romantic tension between Pat and Dorothy Brock. A more layered portrayal, showing the push and pull between affection and restraint, could enrich the character’s impact and add complexity to their relationship arc.

Abner Dillon, played by Jon Gardner, played the ever-wealthy Southern Backer of the Broadway production. Jon embraced the character’s Southern charm and eccentricity, delivering his lines with a drawl that emphasised Dillon’s outsider status in the bustling New York theatre scene. His physicality, stiff posture, exaggerated gestures, and a perpetually puffed-up chest added to the caricature of a man more concerned with status and romance than artistic merit. Jon Gardner’s portrayal highlighted Dillon’s obliviousness to the theatrical world around him, often playing him as a lovable buffoon whose wealth gave him influence but not insight. His interactions with Dorothy Brock were particularly entertaining, as he oscillated between doting suitor and clueless financier, creating moments of awkward humour that underscored the character’s lack of self-awareness.

Tom Guest as Bert Barry was a delight. He nailed the wisecracking vaudeville vibe, injecting timely comic relief and old-school charm into the drama. Tom’s vocals were rich and full, with clear articulation and pitch-perfect delivery. His chemistry with Freia Reidel-Fisher, who played Maggie Jones, was a joy to watch. Freia lit up the stage with sass, warmth, and showbiz flair. Maggie Jones is the brassy, big-hearted “mother hen” of the chorus girls, and Freia embodied this with consistency and charisma. Her belt was strong and well-projected, and she brought a maternal energy that anchored the ensemble scenes beautifully.

The overall production aspects were thoughtfully executed and in keeping with the time period and tone of the musical. Ethan Osborn’s lighting design added bold, saturated colours that heightened the drama and glamour of the show. Subtle shifts in lighting helped transition scenes smoothly and added emotional nuance to key moments. Sound by John Ormerod was precisely balanced and technically assured, supporting both the musical numbers and dialogue with clarity and finesse. John Ormerod’s sound design ensured that the orchestra never overpowered the performers, allowing lyrics and spoken lines to come through crisply, a crucial element in a production where timing and rhythm are everything.

Musical direction by Ed Nurse was masterful. A seasoned hand in the world of musical theatre, Ed struck the perfect balance between emotional depth and razzle-dazzle. The orchestra was tight and responsive, supporting the performers without overpowering them. The musical numbers were paced well, and transitions between scenes felt seamless.

South Manchester AOS’s production of 42nd Street was a joyous celebration of musical theatre’s golden age. With strong ensemble work, standout performances, and a clear love for the material, this show tapped its way into the hearts of the audience. While there were a few minor hiccups in casting and technique, the overall experience was uplifting, energetic, and thoroughly entertaining.

If you’re a fan of classic musicals, tap dancing, and stories of perseverance and passion, 42nd Street is a must-see. South Manchester AOS has once again proven that community theatre can sparkle just as brightly as the big leagues, thank you once again for your kind invitation and hospitality, I look forward to seeing you all again soon.

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