Tapping Into Joy

42^nd STREET

Theatre Royal Drury Lane, London, Saturday 10^th November, 2018

 

Originally a novel and then a movie to bring light to the darkness of the Great Depression, this triumphant stage adaptation is irresistible fun.  It takes the escapism of the American dream to Broadway, in this showbiz musical about the staging of a Broadway musical.  Talented but gauche chorine, Peggy Sawyer, gets her big break when the star of the show gets a little break – to her ankle – and so a star is born.  Because anyone can make it, if they are talented, work hard, and have a generous helping of luck.  So the American myth goes, anyway.

From the raising of the curtain, revealing a host of dancing feet, the show exhilarates and delights.  The production numbers are on the grand scale – this must be the largest chorus in town – the songs are standards and the script by Michael Stewart and Mark Bramble is wryly witty.  In short, the show is an unadulterated joy.

As the lucky, plucky chorine, Clare Halse is spectacularly good, tap-dancing like a machine gun and singing like an angel.  She is more than a match for her predecessor, the mighty Bonnie Langford, giving a masterclass in musical theatre as egotistical diva Dorothy Brock.  Langford is star quality personified, and this is a return to her roots after her dowdy and emotional stint in EastEnders.  Emmerdale’s Tom Lister barks and throws his weight around as producer Julian Marsh; he has a good singing voice on him too.  Yes, the roles are cliched, but these three bring credibility to the scantiness of their characters’ development.

It’s an absolute treat to see romantic lead Ashley Day (for whom I have a pure and boundless love), in his element here as the cheesy, cocky Billy Lawlor, moving with grace, acting with humour and crooning like a dreamboat.

Bruce Montague waddles on and off in a broadly played comic turn as the show’s financer, Abner Dillon.  Jasna Ivir and Christopher Howell provide plenty of laughs as the show’s writers and comic duo.

The show would be nothing, though, without the impressive machine that is the chorus, a multitude of individuals who come together and move as one in breath-taking routines.  The timing is flawless, the choreography (by Randy Skinner) is both energising and exhausting to behold.  Tap-dancing always thrills me but this display goes above and beyond!

In these times of the prolonged agonies of the Austerity lie, and the uncertainties of impending Brexit, this production is a real tonic, sheer entertainment to make a song and dance about – if you can afford a ticket, of course!

The wonderful Ashley Day and some of the boys

Tapping Into Talent

42^nd STREET

New Alexandra Theatre, Birmingham, Thursday 13^th August, 2015

Stage Experience is an intensive two-week programme in which youngsters from across the region rehearse a full-scale production and have it fit for public consumption in a proper theatre. Hot on the heels of last year’s rip-roaring success, Footloose, comes this toe-tapping classic musical, where the score (by Harry Warren and Al Dubin) is better known with standard following standard. Also, the book by Michael Stewart and Mark Bramble is a lot of fun, bubbling with witty one-liners and amusing incidents. But does the young cast, like leading lady Peggy Sawyer herself, rise to the challenge of learning a show in no time at all and, in the process, make a star of herself?

You betcha!

From the opening, when the curtain rises to reveal a dense forest of legs all moving in step, and the rat-a-tat of tap shoes beats a tattoo, you know you are in for an exhilarating experience. There is something wonderful about tap-dancing but to see and hear it en masse is something else. And this is just the opening number!

Out of the hundred and ten performers – all of whom act with discipline and focus – individuals emerge. Mollie-Anna Riley is appropriately superior as the diva Dorothy Brock. Katie Gladwin impresses as the show’s ‘writer’ Maggie, with a mature performance that belies her young years and lack of previous experience. Matt Pidgeon is hypnotically good as tenor and head hoofer Billy Lawlor – this boy can dance and has a singing voice in keeping with the period of the piece. There is strong support from Kieran Palmer as Dorothy’s love interest, Pat Denning, Nicholas Jones as choreographer Andy Lee, and Chris Johnstone as Bert.

As the chorus girl getting her big break, Caprice Lane shines – despite a ropey wig – to bring out Peggy Sawyer’s talent, drive and clumsiness. We know, because of plot reasons, she’s going to succeed, but we still root for her just the same. Lane’s tap-dancing is second-to-none and she imbues the character with charm and humour.

The incomparable Mark Shaun Walsh plays Julian Marsh, the authoritarian director of the show-within-the-show. The accent is spot on – we expect nothing less – but Walsh portrays the tension of the character through his posture and delivery. We have to wait until well into the second act to be treated to his West End-quality singing voice, for the iconic Lullaby of Broadway. He also closes the show with a solo rendition of the title song and it gives you chills. This young man ought to have a stellar career ahead of him.

The show is a lot of fun – amusing material superbly presented. The stage can seem a little crowded at times, with the huge chorus crammed onto the apron, but the sea of bodies on the full stage is a spectacle in itself. Apart from the plethora of dodgy blonde wigs and a few missed microphone cues, everything is of such high quality, you’d think they’d been working on it since the curtain came down on their previous production.

Director and choreographer Pollyann Tanner works her magic once more and brings out the best in her enthusiastic and talented crowd. I’m already looking forward to next year’s offering.

Talent on Tap

42nd STREET
Curve, Leicester, Thursday 22nd December, 2011

What is it about tap-dancing? Whenever I see a chorus line tapping and ball-changing away, there is something uplifting and infectiously enjoyable about it, I break into a grin and feel benevolent to all mankind. Is this what straight men get from watching sports?

This is a gloriously old-school show, adapted from the old movie and played straight without knowing looks or postmodernist irony. And it works a treat.

It tells the somewhat hackneyed tale of a show within a show: young girl auditions for a chorus line, is given her lucky shot at playing the lead on opening night, becomes an overnight star… It’s been done so many times before but what keeps this ticking along is the superior score. The hits keep coming: I Only Have Eyes For You, We’re In The Money, Lullaby of Broadway… all classics in their own right.

Daisy Maywood shines as chorine-turned-superstar Peggy Sawyer. Francis Haugen’s leading tenor has enthusiasm and pizzazz without making you want to strangle him and Tim Flavin cuts an imposing figure as Florenz Ziegfeld-type director and impresario, Julian Marsh. Strongest in my eyes are Ria Jones as diva Dorothy Block who breaks a leg literally so that Peggy can break one figuratively, and Lisa Donmall Reeve as Ann Reilly.

The choreography by Andrew Wright is dazzling. George Souglides’s costumes, and set design by Ashley Martin-Davies create a sense of the 1930s and the backstage atmosphere. During the Great Depression, people would flock to such escapist fare and today we are no different. There is a pertinence and a relevance to the songs that strikes a chord in these straitened times. The wistful optimism of lines like “If you got no money, you don’t pay income tax” and “if you got no job, pretend it’s your vacation”, are funny but also sad.

A welcome respite from all the pantomimes and seasonal shows that are everywhere at this time of year, 42nd Street is a celebration of talent and ability, executed to wonderfully high standards. I defy anyone to go and see this joyous production and not come out with a huge and gormless grin on their face.