It’s rather fitting that a musical which tells the story of putting on a show, and the challenges which come with it, should face some ‘technical difficulties’ on the opening night. And that’s exactly what happened at 42nd Street at the Opera House.
As we all filed towards the entrance at 7pm for the 7.30pm start, tickets in hand (or rather, QR codes glowing on mobile phone screens), staff informed us that there would be a half hour delay to Monday’s show (“best to go get a drink elsewhere as we can’t seat anyone”). Fast forward 30 minutes later and we all returned, snaking around the block as we had all taken the message about going elsewhere to heart.
We never quite found out what caused the delay, although I overheard a staff member mention the all-encompassing ‘technical difficulties’. But this is showbusiness]and the show must go on. 42nd Street is a musical which captures the essence of showbiz – the dizzying highs and the crushing lows – well, it does so in a very light-hearted and playful manner.
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Through innovative projections on the stage curtain, we’re transported to 1930s New York, where people are gripped by the Great Depression yet dream of their name in lights. Big-wig Broadway director Julian Marsh (Michael Praed) is putting on a new Broadway Show, Pretty Lady, and he needs a starlet for the main role.
Samantha Womack’s Dorothy Brock delighted audiences
(Image: Johan Persson)
Fortunately one comes to him, Dorothy Brock, played with flair by Samantha Womack. Dorothy is every inch the diva – but her star is fading and she doesn’t quite fit in with the production. There’s one hilarious scene where Julian forces her to audition for the role, and nothing goes quite to plan.
Waiting in the wings for her moment to shine is the spunky Peggy Sawyer (Nicole-Lily Biasden), who’s arrived at Broadway from small-town America, with only a suitcase packed full of ambition. She makes it into the chorus line and when Dorothy Brock suffers a broken ankle, Peggy Finally gets her chance to shine.
The production shifts between rehearsal scenes and Pretty Lady scenes
(Image: Johan Persson)
The production shifts excellently between the gritty setting of the rehearsal scenes as Julian Marsh, along with producers Maggie Jones (Faye Tozer) and Bert Barry (played by Les Dennis), prepare the cast to put on the show, and the glitz and glamour of the Pretty Lady montages. It’s these moments where 42nd Street truly delivers – think sparkly dresses, bright lights and big dance numbers.
In fact it’s the tap dancing that is the real star of the show, with the cast pulling off precision moves and synchronised movements with panache. Nicole-Lily Baisden’s Peggy Sawyer had us all wowed with her scene-stealing tap routines.
42nd Street has incredible tap dancing scenes
(Image: Johan Persson)
The set design is spectacular, particularly for the ensemble scenes in Pretty Lady. We’re In The Money is an absolute delight as the dancers hold up giant coins and parade across the stage. Meanwhile Peggy’s rendition of 42nd Street was breathtaking.
Safe to say Les Dennis, having just completed his short but sweet run on Strictly Come Dancing, doesn’t partake in the big dance scenes, although he does provide plenty of fun moments with his on-stage antics. His performance in Shuffle Off To Buffalo had the audience chuckling.
42nd Street at Manchester Opera House
(Image: Johan Persson)
The second half was even more dazzling than the first, especially when we were treated to more glimpses of the Pretty Lady production. As the cast of 42nd Street took their bows the audience were on their feet with a standing ovation – the stars of the show are certainly In The Money indeed.
42nd Street is on at Opera House Manchester from Monday October 16 until Saturday October 21.
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