42nd Street

42nd Street

Music by Harry Warren with Lyrics by Al Dubin

Book by Michael Stewart and Mark Bramble

Performed by West-Super-Mare Operatic Society on Friday 10th April

 at The Playhouse, Weston-Super-Mare

Co-Directors – Mike Purnell and Liz Mount

Musical Director Annie Ford

Choreographer - Felicity Adams

 

‘Come and meet those dancing feet’ as the front of the programme read and that is exactly what the amazed audience witnessed at this production of 42nd Street. Weston-Super-Mare Operatic Society delivered a dazzling and high-energy production of 42nd Street, capturing all the sparkle and excitement of this classic Broadway musical.

The story is a simple one; set during the Great Depression, the story follows an aspiring performer, Peggy Sawyer as she rises from chorus girl to star, embodying the timeless “rags to riches” dream as the dear girl works her butt off in 24 hours to take on the leading role in Pretty Lady, saving the show and everyone’s jobs to boot. 

Peggy Sawyer was portrayed as a naïve young woman who’s confidence grows as the storyline blossoms. The actor playing Peggy, with a lovely speaking voice and believable accent, gave a delightful performance using her honey-toned mezzo-soprano voice and her incredible tap-dancing skills; in the words of Maggie Jones “You’re a looker, you can chirp like a bird, and you’re pretty hot stuff in the steps department” and this showed throughout but particularly as she has a tap battle with Anytime Annie. The actor who portrayed Billy Lawyor had talent in spades. A lovely lyrical tenor as he sang, I’m Young and Healthy with Peggy and looked every part of the handsome male lead in a show, with accomplished dance skills. These two provided a stellar tap and dance routine during 42nd Street in the-show-within-a show Pretty Lady which expressed more than words ever could with their tap vocabulary.

Julian Marsh is revered by all and this actor, from his first entrance had such a presence on stage. His stillness drew your eye to him as he commanded the stage as Julian Marsh should. With a gorgeous timbre to his voice this actor was just delightful to listen to when speaking or singing.

Dorothy Brock walked on stage as if she was the only important person in the room, dressed beautifully and acted with the maturity of someone who had played many leading roles.  This actor played Dorothy as the deliciously bitchy ‘broad’ character who, when mellowing, sang I only have eyes for you with real emotion.  Pat Denning, Dorothy’s love interest was nicely gentle as the character should be, in contrast to that of the wealthy Abner Dillon, who is backing Dorothy’s next venture and played by an actor with presence and a good southern accent.

Comedy in any musical is needed (just watch Chess if you’re not sure!).  Anytime Annie was wonderful to watch and her comic timing was utterly superb. This actor, with expert tap skills shown in Go into Your Dance alongside Lorraine, Phyllis and Peggy and a perfect musical theatre voice for Shuffle off to Buffalo with the scrumptious Bert, was a joy to watch. As was the actor playing Maggie Jones who I could not take my eyes off in every scene, I wanted to watch her more. Funny, warm and charming and perfect for this role, landing every funny line and utterly believable. Part of the song writing team with Maggie was Bert Barry, played by an actor who has funny bones and used every one of his lines to make the audience laugh and love the character. Hilarious in his pyjamas and gartered socks in Shuffle off to Buffalo.

Andy Lee is the choreographer for the production of Pretty Lady and was performed by such a good actor with excellent dance ability, shown along with the girls in Go into Your Dance and as the curtain raises at the very top of the show. Phyllis Dale and Lorraine Fleming, played by two more talented ladies of the company, also sang and danced equally as well and supported Annie and Peggy expertly in their scenes together.

The directors must have had difficulty choosing who would play Peggy or Annie in this show as the amount of talent amongst the ensemble was enviable.

The standout feature of this production was undoubtedly the ensemble singing and the choreography. The tap routines were precise, fast-paced, and visually impressive, especially in large ensemble numbers like We’re in the Money and the iconic 42nd Street.  I was blown away by the commitment and synchronisation of this incredibly talented cast of performers who should be commended for bringing real energy and professionalism to the stage. This sound of these iconic numbers was enhanced by clever use of mics on the legs of each dancer to pick up every stamp, brush, heel tap, pullback and shuffle. The cast performed with enthusiasm and confidence, smiling even if they were in the fourth row of dancers, creating an engaging and enjoyable atmosphere for the audience.

I wrote continuously as I watched so many stand-out moments -The gorgeous dames as they enter through the Maison de Dames flat as Billy dances balletically at the front of the stage. The waiters tap, downstage left during the café scene as one of them says a line that makes the audience roar. The gorgeous dancers in the Shadow Waltz, I wrote beautiful arms, girls!  We’re in the Money with male ensemble in green and cream suits and the female ensemble in green short dresses and hats looked superb and I noted - fabulous number! The simple collection by Mac (nice cameo role for this actor) of the stand-alone stage light placed centre stage during the overture was classy and a fabulous touch as the show wakes up and characters cross the stage before dance rehearsal begins. To top all of this the six male ensemble dancers who could all also tap dance, were exceptional in Dames, led by Billy. Dressed in red suits, top hats and canes, this simple choreography looked good and the gorgeous harmonies made this number stand out to me.

The lighting design was exceptional and complimented every time of day, mood and scene. Lighting the feet of the performers first as the 42nd Street number begins and then extending out was clever and looked great.  An open stage showed a dimly lit and dusty rehearsal space as the audience enter the auditorium to take their seat, with that one stage light centre plus the dressing room lights in There’s a Sunny Side to Ever ’y Situation.

 Excellent sound with levels perfect between the orchestra (hidden somewhere) and the personal mics plus numerous tap mics on performers. Not a word of dialogue was missed. 

This production was remarkable in so many ways. It benefitted from vibrant costumes too numerous to mention and effective staging, which successfully transported the audience into the glamour of 1930s theatre.  The Art Deco design of the Scenic Productions set is impressive and worked well throughout with stairs moved seamlessly by the cast, the café flat flying in, downstage left, as the waiters dance on with the table and chairs. The backstage setting added that extra layer of authenticity and excitement along with the balcony transforming into Dorothy Brock’s hotel room.

I bow to the directors and choreographer in reverence as this was a wonderful production of 42nd Street by Weston-Super-Mare Operatic Society and the most entertaining and polished musical production I have seen in 2025 and so far in 2026. A complete joy to watch and a celebration of musical theatre leaving the audience uplifted and thoroughly entertained.

My warmest congratulations to everyone involved.

Lyn Burgoyne

Noda Representative – District 5 – Exeter, Mid and East Devon.

REPORTING:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production, and particularly the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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