Curve and Sadler’s Wells Production of ‘42nd Street’ is a dazzling, theatre extraordinaire. A truly remarkable display of craftsmanship. This performance will take your breath away from military like clean precision to eye capturing lighting design. Directed by Jonathan Church, choreographed and designed by Olivier Award winners Bill Deamer and Rob Jones. ‘42nd Street’ is theatre at it’s best.
Fresh off the bus from small-town America, young and beautiful Peggy Sawyer arrives in New York City dreaming of her name in lights. She quickly catches the eye of a big-time director and lands a spot in the chorus line of Broadway’s newest show… and when the leading lady gets injured, Peggy gets her shot at stardom.
Samantha Womack was outstanding as Dorothy Brock, her character exudes class, an old fashioned type of broadway star which seems to be long forgotten in theatre displays today. Her voice was encapsulating, her lower tones were sultry and kept the audience clinging on her every word. Her character states to ‘let the audience come to you’ and that she did with her completely mesmerising stage presence.
Michael Praed as Julian Marsh was a joy to watch. His portrayal of his characters qualms, the notes of uncertainty in his characters decisions were truly the beauty of his performance. This portrayal of emotional toil allowed the audience to trust his characters in his very definite decisions, a wonderful portrayal of a trusting director. His delivery of his dialogue was fantastic, using intonation and inflictions to really emphasise his characters’ stance throughout the performance.
Faye Tozer as Maggie Jones was hilarious, her heartwarming portrayal of Faye was fantastic. Her physical comedy was fantastic using intentional hand gestures and choreographed movement to extend the humour of the character even further. Her vocals were outstanding, as a comedic character often we see people shy away from singing, however, even through the comedic choices of the vocal delivery her training and ability shone through.
Kevin Brewis as Bert Barry was fabulous, his great strength was his exaggerated facial expression. From cheeky eyebrow raises to pouting his animated character choices brought the character to life. He demonstrated wonderful decision making in regards to the character aiding the impact of the humour written for the character.
Nicole-Lily Baisden is a dangerous triple threat on stage, her tap skills were outstanding and performed effortlessly. Her interpretation of the character journey came across completely authentic, her realistic approach made the production’s emotional drive poignant allowing the audience to root for the character. Her tap pirouettes are etched in my memory indefinitely.
Sam Lips as Billy Lawlor had a real edge to his character. His character’s body language was excellent throughout and he did not miss a mark. The posture of the character was exactly portrayed in a precise manner making him a striking vision on stage. Lawlor’s vocal ability was impeccable, transporting you to times gone by.
Oliver Farnworth as Pat Denning was a force to be reckoned with, his portrayal of the character was pivotal in aiding the story arc of Dorothy Brock. His execution of the character was on point. Anthony Ofoegbu as Abner Dillon was hilarious, a real comedic gold mine. His use of accent and intonation exaggerate the dim witted nature of the character, this paired with his clunky body language was an expert pairing.
The ensemble were outstanding and an absolute force to be reckoned with, this production requires a stellar company and this ensemble did not disappoint. From authentic smaller role, excellent execution of dancer numbers and beautiful harmonies this ensemble displays the absolute best of the best.
Jonathan Church’s direction brought a modernistic approach to a classic production. The use of projections, slick scene transitions and a multifaceted set allowed the production to feel very fresh and new whilst implementing the style of old broadway. Bill Deamer’s choreography and musical staging was impeccable, his use of symmetry was visually striking. The tap routines throughout were outstanding and of the most memorable parts of the performance as a whole. The choreography was slick, smooth and extremely precise. Not a foot out of place – literally.
Robert Jones in use of set design and costume was dazzling. The set was unbelievably effective, transporting you from one place to the next with seemingly very little effort. The set was intricate although it appeared simplistic. It allowed the audience to focus on the action on stage. Jones’ costumes were exhilarating, the choices of costume were absolutely beautiful, each one outshining the next. They truly dazzled the audience.
Jennifer Whyte, the musical director, created the most beautiful, complex harmonies. I was blown away by the intricacies within the musical numbers which for the most part are relatively simple hits which have been transformed in an extraordinary way. The lighting design by Ben Cracknell blew me away, my mind was blown by the picturesque beauty of some of the lighting choices using dark contrasts to exude danger and light rosy pinks to completely change an image which has been repeated during the wedding scene. The sound design by Ian Dickinson and Gareth Tucker only amplified the drama of the musical, within the musical. It was beautifully underscored and the sound was used as a method of emotional transportation through Peggy Sawyer’s journey. The orchestra played brilliantly giving a real ephemeral feel to the production, they had a brilliant balance, never overpowering the vocalist but simply complimenting them creating the most beautiful sounds.
‘42nd Street’ is one of the most carefully considered pieces of theatre in our current industry. It is a masterpiece which should be celebrated and shared with everyone you know. The modernistic take on a time gone by displays excellent tap dancing, beautiful harmonies, realism and striking visuals which will implant in your mind forever.
‘42nd Street’ is playing the Theatre Royal in Glasgow from Mon 21 Aug – Sat 26 Aug 2023. Get your tickets here: 42nd Street | Tue 22 Aug 2023 19:30 | Theatre Royal Glasgow | ATG Tickets
You can also catch this production at the Edinburgh Playhouse, Tue 26 Mar – Sat 30 Mar 2024. Get your tickets here: 42nd Street Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets
Johan Persson
Theatre Scotland 
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