David Mirvish, Jonathan Church & David Ian/42nd Street, book by Michael Stewart and Mark Bramble, lyrics by Al Dubin, music by Harry Warren, choreographed by Bill Deamer, directed by Jonathan Church, (based on the 1932 Bradford Rope novel, and the 1933 film), Princess of Wales Theatre, to Jan. 21, 2024. Tickets here.
42nd Street is a joyous, non-stop song ‘n’ dance musical that is guaranteed to put a smile on your face.
The show is the successful stage version of the iconic 1933 movie of the same name, originally produced on Broadway by the legendary David Merrick in 1980. 42nd Street was also the first successful transfer of an original movie musical to the Broadway stage.
Since then, there have been countless revivals both in New York and London, and it seems that audiences can’t get enough of the wall-to-wall musical spectacle. This acclaimed production began at Sadler’s Wells in July 2023, then toured the British provinces before coming to Toronto with the original all-star West End Cast, so count this a Class A show.
The Plot
The story of 42nd Street is well known because it set the template for backstage musicals.
Small town girl Peggy Sawyer (Nicole-Lily Baisden) comes to New York, lands a job as a chorus girl in a new Broadway musical called Pretty Lady, and becomes a star when she replaces aging leading lady Dorothy Brock (Ruthie Henshall) when the latter breaks an ankle.
At the heart of the show is the relationship between Peggy and director Julian Marsh (Adam Garcia) who rehearses her relentlessly and mercilessly when the girl has to take over Dorothy’s role. His breathless line on the subject has become an icon in itself. Snarls Marsh during rehearsals: “I’ll either have a live leading lady, or a dead chorus girl.”
Of course, there are complications.
Dorothy must keep her Broadway angel Abner Dillon happy (Anthony Ofoegbu), because he’s the guy who put up the money for Pretty Lady, but her heart is with her true love, Pat Denning (Michael Praed), an unemployed actor. And then there’s the juvenile lead, Billy Lawlor (Olly Christopher), who falls for Peggy, who, sadly for him, only wants to concentrate on her own career.
The show is filled with all manner of singing and dancing roles. Maggie jones (Josefina Gabrielle) and Bert Barry (Michael Matus) are both the writers and producers of Pretty Lady. Andy Lee (Alyn Hawke) is the dance director of the show. And of course, there has to be the wisecracking, street-wise chorus girls, played by Sarah-Marie Maxwell (Anytime Annie), Briana Craig (Lorraine), and Aimee Hodnett. (Phyllis).
The Production
If you are at all familiar with Warner Brothers’ so-called Depression musicals, you know that the song and dance numbers were staged by the notorious Busby Berkeley, and nothing was too grand a concept for his astounding choreographic vision, like a waterfall of beautiful chorines.
Although choreographer Bill Deamer is limited by the reality of the stage, he still, aided and abetted by set designer Robert Jones, has come up with a sparkling series of eye-catching tap numbers that old Busby would have loved. By the way, Jones’ period costumes are simply gorgeous, as are his art deco inspired designs for the show in general.
What really makes the production work is the innovative way director Jonathan Church has crafted the scene changes. The show just flows seamlessly along in a very impressive way. It’s probably one of the most clever stagings of a musical I’ve ever seen. As well, Church’s pacing doesn’t let up for one moment.
Of course, there is the glorious music by Dubin and Warren. The creators of the stage version used all the songs from the film, plus many other tunes that the team wrote for other Depression musicals. How can you go wrong with “I Only Have Eyes for You”, “We’re In The Money”, “Lullaby Of Broadway”, and of course, the title song.
The Cast
The bitchy character of Dorothy Brock is really the star of the show, with Peggy Sawyer as the ingénue, and at this point, I’d like to digress.
I once wrote and voiced a radio show called Give My Regards To Broadway on The New Classical FM. In the station library I found a CD called Ruthie Henshall Sings Gershwin, with an English musical star I had never heard of, but when I first listened to the album, it stopped me in my tracks.
Henshall’s melodious, seductive, creamy voice, her idiosyncratic phrasing, the magical way she plays with words — here was a chanteuse of sheer brilliance in understanding lyrics and selling a song. Thereafter, Henshall became my Queen of the West End, and here she is, live on stage in my own city. The star is 56 now, and the voice may be burnished around the edges, but she still out-sings everyone else on the stage in glorious fashion.
The original 1933 Peggy was tap sensation Ruby Keeler, but the very talented Baisden gives that lady a good run for her money with her incredible speed and attack. As the male juvenile, Christopher perfectly captures, in amusing fashion, the same vacuous personality as 1933 actor Dick Powell, as well as possessing the same kind of ringing tenor voice that could shatter glass.
Australian-born Garcia has sex appeal up the whazoo, and exudes the authority that the character of director Julian Marsh demands, while Gabrielle delights as the tough old Broadway baby who can pour out a song. Turning the character of Jones into a woman is a change from the movie, but it injects a dash of brightness on stage.
In fact, the cast overall is superb. Everyone can belt out a song and dance up a storm. The whole production is just plain terrific. And on a plus note, because this is an English cast, diction is PERFECT. You can hear every word in every song.
Final Thoughts
But here is a genuine surprise. Some bored Gen-Z’s were sitting beside me and left at intermission. And that’s when I realized, to my shock, that my delight and nostalgia for a song and dance show might not be to the taste of the younger generation. I guess 42nd Street is not a jukebox musical of current pop hits, and maybe they don’t see the glories of great tap dancing, and tunes you can hum.
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