42nd Street

Teesside Musical Theatre Company have done it again, another incredibly talented cast, creative team and showstopping performances! 42nd Street follows the rehearsal process of an up-and-coming musical, which faces its own challenges in reaching opening night. Brilliant staging, innovative use of the projector and incredible performances left the whole audience wowed!

This is my first time reporting on a Teesside Musical Theatre Company production and boy did they set the bar high. A huge well done needs to go to the creative team who have worked hand in hand with the clever use of projection to show detailed settings. Having detailed scenery while still allowing ample space to dance and move freely around the stage is a challenge, especially when the tap-stepping army of dancers often fills the stage! A whole team of lighting and projection designers and operator, backstage crew, costume, set designers, and set builders worked brilliantly to create a consistent and collaborative piece of theatre. The set partnered with the projection brilliantly to allow detailed backdrops to be changed from location to location, with the addition of certain ‘feature’ set pieces which gave each scene a 3D level. The lighting and sound design worked effectively and subtly to tell the story and help display the moods in each scene. The band, ‘caged away in their pit,’ was led by Musical Director and Conductor Jason Mitchell.

Jason Mitchell has worked incredibly hard to get the cast show ready. Although the cast are fantastic the songs throughout are a challenge, both in terms of style and vocal strength needed. Lullaby of Broadway, sung by different members of the cast is a multi-styled, complex, and lengthy song but never left the audience wanting it to end. Speaking of challenging songs for the company I cannot go any further without mentioning the over 7-minute-long titular song 42nd Street, the whole number was filled with energy, grace, and power.

Alison Dale, who was the director for the production, spoke very highly of the cast and creative team for all their hard work alongside her. Alison provided the audience with a brilliant journey through the musical, directing the actors and helping show the characters’ development with personality with a real human connection to one another and the audience. Her vision was clear to see and left the whole audience connected and invested in each one of those characters' lives. Stanislavski once said, "There is no such thing as a small part…” this was clear, as I could have sat there and watched every single performer on that stage tell me their own character's individual story.

Finally, we come to the choreography by the incredibly talented Nic Jenkins. I struggle to put into words exactly how breathtaking the dance numbers were. Every single performer was smooth, in time, hardworking and was visually stunning in every dance number. The choreography spanned several unique styles, obviously tap being the star of the show, with moments of hoofing dropped in there for good measure. A lovely swing style is featured, as well as beautiful small group and duet routines. The dance numbers, both in terms of energy and quality, looked like they had been lifted straight from the West End stage, a huge, huge well done.

I want to make it clear from the start that when it comes to the cast, as I have said previously, I could have picked out and watched every one of them; they all had their own characters and story with unique character choices throughout.

The story was filled with dramatic characters, none so-ever than the eccentric leading lady Dorothy Brock played by Hilary Wells; her character was mean and performed with a flair of arrogance and entitlement. This was contrasted brilliantly in the later stages of the show when Dorothy lends helpful advice to Peggy, a genuinely nice redemption story for her. Partnered with Terry Bytheway, who played her rich ‘sugar daddy’ Abner Dillon, was also the sole investor for the in-show production of Pretty Lady. His genuine, kind and understanding performance of Abner contrasted his stage partner's abrasiveness brilliantly. He was a character the audience was unsure of at first but grew to love as the story developed. 

On the subject of the production of Pretty Lady, the production was truly not in safer hands with Kelvin Witherspoon-Sudron, Simon Dale and Ian McKnockiter playing the roles of Director, Co-Writer, and Choreographer, respectively. Choreographer Andy Lee played by Ian McKnockiter, was one of the best tap performers on that stage. His ability to tap dance and do so whilst making it look so effortless, and as he tries to ‘teach’ others on stage, was amazing. He captured that diligent, dedicated and at times slightly intimidating choreographer, I think all of us have encountered at one time or another. Simon Dale brought the energy to the trio as Bert Barry. At times, reminding me of a dedicated, hard-working and bouncy Boxer dog, in the best ways possible. He was constantly interacting with the cast and finding little ways to create those character relations with members of the company, practising dance steps in the background, or interacting with his colleague Maggie Jones. Maggie was played by Sarah Appleby, who gave the role a professional and approachable feel to Maggie. She played the role with the professionalism you would expect for a seasoned stage performer, taking the time and the risk to help the young up-and-coming Peggy. Her whole performance through the show was fantastic, but she really shone in Go Into Your Dance which was superb. Not only was Sarah’s character and brilliantly matched voice to the songs she performed, but her dance ability was just as impressive.

Jake Mason played the romantic and charming tenor lead Billy Lawlor, who helps and supports Peggy in her adventure. Jake portrayed Billy with energy and style; his characterisation was on point, showing a caring and approachable character. Jake was constantly on hand to feature in many of the show's numbers, including the many dance routines, which he performed brilliantly. His vocals in both group songs and in Young & Healthy were clear and perfectly placed. I will never tire of hearing Jake sing. His performance throughout the show was consistent and incredibly slick, fitting into the shoes of his character with ease.

The Director in the story, Julian Marsh, was played brilliantly by Kelvin Witherspoon-Sudron, certainly a character we were sceptical of to start with, who slowly gained the trust and confidence of both the audience and the other characters. Playing a well-established and successful figure can be hard, but Kelvin had no problems at all. His presence on the stage was commanding, which was well partnered with his skilful use of accent and tone of voice. Kelvin started the very popular number Lullaby on Broadway, this being the time when Julian tries to persuade Peggy to come back to the production and take the role of leading lady. The song was gentle and fun with a hint of his desperate need to win her over, which was very well balanced. 

Claire Williams took the leading role of Peggy Sawyer, and what a performance she gave! From start to final curtain call, every note was perfect; her tonality was placed in exactly the right place to give a brilliant performance while still fitting in with the historical time and style of the songs. In her performance, she showed fantastic characterisation; such a multilayered role is never simple, but “I swear on my mother, on my father, on my uncles…” she made it feel like second nature. Peggy was portrayed as funny and naive, with an incredibly clever and witty side to her, which all balanced out perfectly. I cannot speak about Claire’s performance without mentioning her dance. I am glad that I was not sitting in the first row, as I am sure I would not have had eyebrows by the end of the show; her feet were on fire! She performed each tap step with style, energy, and clarity: wings, cramp rolls, buffaloes, shuffles, as well as single, double, and triple time steps! Claire really showcased all her talents in this role!

Since I have already mentioned Go Into Your Dance previously, I must revisit it and say once again how fantastic it was. In fact, there were many points where close friends: Maggie Jones played by Sarah Appleby, Ann Reilly played by Jayne Holley, Phyllis Dale played by Penny Collier, and Lorraine Fleming played by Hannah Smith were featured in the story and how they all shone on that stage. All four of these very talented ladies sang, danced, and acted brilliantly throughout the production. They showed their class, style, and skills in their roles beautifully. Nathan Platt appeared as Pat Denning and Alan Pickthall as Mac; both performers acted well to give their roles deeper character and brought life and meaning to their roles, which appeared throughout the production. Phil Bargewell, Patrick Cook-Smith, Freddie Gordon, and Joe Harrison all wore many different hats in the production, appearing as waiters, thugs, door attendants, doctors, as well as members of the company. Their efforts could not be forgotten as they were constantly changing sets, changing costumes, or participating in some incredible dance scenes. Lastly but certainly not least was the team of incredible dancers: Niamh Cook, Abbie Whitehead, Amelia Brown, Grace Bromfield, Katie Shepherd, Penny Collier, Jayne Holley, Claire Williams, Hannah Smith, Rebecca Dale, Katie Allen, Adèle McNally, Poppy Short, Abigail Beck & Adelle Almond. In every company number these incredibly talented performers filled the stage; they were constantly performing with energy, character, and quality. 

There was not a single point during the show where I would be able to look at anyone on that stage, from the leading lady to the piano-playing rehearsal assistant, and not see genuine characters that I believed wholeheartedly, simply sublime.

 

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