42nd STREET (musical)
Broadway, 1932. It's the great depression (and we are not talking the fan-girl
behaviour at "Wicked" when their favourite is off, this is serious, well, more
serious). Anyway, producer Julian Marsh is forced to send on understudy dancer
... the rest is history...
Classic songs like "Lullaby of Broadway" and "42nd Street" return to Drury Lane
a mere 28 years after the last run here.
Lulu will not appear on 22nd, 23rd and 30th
June 2018. Lulu's final performance is on 7th July 2018. Cast holiday details are given for information only, and
Theatremonkey.com CANNOT take responsibility for any issue arising from the
accuracy or otherwise of these details, nor guest use of this information.
(seen at the preview performance on 29th March 2017)
In a West End season that sees three “dance musicals” open in the space of a few
weeks, this is the monkey’s second after “An American in Paris.” Unusually for a
London theatregoer, it loves this particular genre, and was keen to see how this
revival measured up, not just against the original production (which it did see,
many moons ago) but also the competition. Its conclusion?...
“42nd Street” plays cappuccino to “An American In Paris’s” espresso. Which it
enjoys more simply depends on its mood, as there isn’t a thing to choose between
them in terms of the skills, talents and music on stage. Paris’s darker post-war
tale feels it throughout. The ‘Street may be set in a depression where no work
means starvation, but it never really lets the troubles intrude – this really is
froth all the way. That can be detrimental. The lack of suspense and feeling of
peril costs it the drama to give a final edge to proceedings, but no matter,
there’s always a gorgeous song and dance instead.
The ensemble (24 expert tapping ladies, 12 equally tapping gents) drop jaws in
the opening number, and top even that in the final encore. In between, they
simply dance up a storm – ladies a little better rehearsed on their marks than
the gents, at the preview monkey saw – and “Keep Young And Beautiful” in
particular is eye-poppingly beautiful. Notable in the team are Jasner Ivir
(Maggie Jones), Emma Caffrey (Annie), Ella Martine (Lorraine) and Clare Rickard
(Phyllis) for the ladies, whose small roles are performed with skill. For the
gents, Mark McKerracher (Mac / Doc / Thug) manages to both beat and cure
fellow-cast members with aplomb, and Luke George, Ryan Gover and Dylan Mason are
The leads deliver the old classic numbers with polish if not actual flair.
Sheena Easton (Dorothy Brock) is every inch the diva, her final scene though a
lovely piece of credible turnaround. No wonder Bruce Montague (Abner Dillon)
stands by her and Norman Bowman (Pat Denning) chases. Replacement Clare Halse
(Peggy Sawyer) is a dream dancer, with a sweet voice and stage presence that has
the audience on her side from the off. Small surprise that enthusiastic Stuart
Neal (Billy Lawlor) wants to help her – and he’s no mean dancer himself, just
needing to stand an inch or two over at times. Tom Lister (Julian Marsh) also
has us well believing his love of producing, his closing “42nd Street” a
highlight of the show.
If there are the odd cheap moments – an insubstantial railway set, painted
bottles behind a bar, and a downright peculiar waxwork stagehand duo; the
(mostly) in-house painted backdrops and “cloths” are exquisite – the “Pretty
Girl” one in particular is stunning. Gareth Owen gets the sound to match, so not
a tap is missed, and Roger Kirk’s costumes deserve special note.
The monkey hopes this outing proves as successful as the original run, as it is
a true classic in a loving lullaby of a revival.