Based on the 1933 film, 42nd Street captures a behind the scenes look at the production of a depression-era Broadway show, the fictional ‘Pretty Lady’. Highlights include some fantastic tap dancing, and truly classic Broadway show costumes.
The plot centres on Peggy Sawyer, a small town girl with big dreams of dancing in a Broadway show. Despite her lack of nerve at the audition, her spectacular tapping feet catch the attention of leading man Billy Lawlor, not to mention the writer, Mr. Julian Marsh. She is soon cast in the chorus, where she busies herself out-tapping everyone. When the not-so-graceful Dorothy falls during opening night and breaks her ankle, she accuses Peggy of pushing her (though it was an accidental bump). Without its star, the producers decide the show must be closed. However, the cast have other ideas and set about convincing them, and the recently-fired Peggy that she can pull off the starring role. Of course, Peggy turns out to be a resounding success, and in the end with blessing of Dorothy herself.
The cast is very good, and familiar small screen faces Paul Nicholas (as Julian Marsh) and Bruce Montage (as sugar daddy Abner Dillon) lend some impressive star talent to their roles. The tap dancing is phenomenal; particularly that of Jessica Punch (Peggy) and Ashley Nottingham (Billy), and the choreography really captures the essence of the era. Glitzy, yet relatively simple sets combine interesting effects such as see-through curtains, overheard mirrors and some great 30’s style depictions of the city for a fantastic overall effect.
The show contains many familiar tunes (like ‘We’re in the money’ and ‘Lullaby of Broadway’), and audience members were spotted bouncing to the music in their seats, and humming along. 42nd Street is a Tony-award winning high calibre show, jam packed with entertainment value, and well worth watching.
The plot centres on Peggy Sawyer, a small town girl with big dreams of dancing in a Broadway show. Despite her lack of nerve at the audition, her spectacular tapping feet catch the attention of leading man Billy Lawlor, not to mention the writer, Mr. Julian Marsh. She is soon cast in the chorus, where she busies herself out-tapping everyone. When the not-so-graceful Dorothy falls during opening night and breaks her ankle, she accuses Peggy of pushing her (though it was an accidental bump). Without its star, the producers decide the show must be closed. However, the cast have other ideas and set about convincing them, and the recently-fired Peggy that she can pull off the starring role. Of course, Peggy turns out to be a resounding success, and in the end with blessing of Dorothy herself.
The cast is very good, and familiar small screen faces Paul Nicholas (as Julian Marsh) and Bruce Montage (as sugar daddy Abner Dillon) lend some impressive star talent to their roles. The tap dancing is phenomenal; particularly that of Jessica Punch (Peggy) and Ashley Nottingham (Billy), and the choreography really captures the essence of the era. Glitzy, yet relatively simple sets combine interesting effects such as see-through curtains, overheard mirrors and some great 30’s style depictions of the city for a fantastic overall effect.
The show contains many familiar tunes (like ‘We’re in the money’ and ‘Lullaby of Broadway’), and audience members were spotted bouncing to the music in their seats, and humming along. 42nd Street is a Tony-award winning high calibre show, jam packed with entertainment value, and well worth watching.