3 June 2023 I 14:15 I Curve Theatre, Leicester
⭐⭐⭐⭐⭐
42nd Street is a historically monumental show, one which from the get go, I had very high expectations for. With an original stage premiere in 1980, the Curve Theatre's adaptation is rejuvenated and modernized. It wants you to believe it is the most expensive show you will ever see, executing this brilliantly without excessive grandeur. With an unbeatable set design from Robert Jones, transitions are glorious to render some phenomenal show-stoppers. But also to find the perfect balance of light and shade with quieter, more sombre moments, comprising a beautifully constructed script with positive outlook. The atmosphere in the audience is one of the best I have seen in a long time, such warmth and joy shared between all ages and genders, proving to be a well-rounded musical for everyone. Featuring hit songs such as We're In The Money and Lullaby Of Broadway, this standout production may well go down in history as a theatrical great.
Set within America's Great Depression of the early 20th century, I adore this era of music and performance, so the orchestrations are a delight for me, led by the wonderful Jennifer Whyte as musical director. With a spotlight on the orchestra pit during the Overture and Entr'acte, the attention towards the live band is an admired touch to appreciate their work and see it all in the works. Having the pit open also compliments the style of a backstage show, the actors acknowledging them (and the audience) as a reminder we are spectators of performance. Particularly for big fans of theatre, the combinations of big hits and rehearsal insights are so fascinating, as Pretty Lady is created before your eyes.
With 1930s glamour, there is a strong celebration between male and female dancers, where Deamer's choreography adapts to the style of song to create endlessly interesting scenes. Adam Garcia's lead over Pretty Lady begins as an unlikeable tyrant, though his sincerity and humanity shines through Act 2, as Julien is presented as more vulnerable to the Broadway production. After seeing Garcia's tap dancing on The Masked Dancer, it is splendid to see live. Although Julien's character has limited choreo, I was desperate to see more! The male ensemble are stunning in showcasing a refined gentleman's ease. Despite the very high energy, it never drops. Sam Lips as Billy Lawler deserves to be heavily commended through his role, leading the men's chorus with confidence and charm. Whilst his dancing is very suave and elegant, as a gentleman he would support Peggy and Dorothy to allow the ladies their own spotlight.
For anyone who has seen this production, it is needless to say that Nicole-Lily Baisden is born to be on stage, as if the role of Peggy Sawyer was made for her. She is just the consummate musical actress, whereby you can't help but wonder if there's anything she can't do! As the characters fall in love with Peggy's talent, equally we do with Baisden. I hope to see her in many more shows to come, her dancing is unbelievably refined as she plays into Peggy's comedic naivety so well. I am endlessly grateful to have seen musical theatre legend Ruthie Henshall this afternoon, who really proves her acclaimed talents. Henshall is so captivating as Dorothy. Whichever scene she's in, she will absolutely be the star! Her facial expression is absolutely glorious, and as a fading star, she defines Dorothy's overconfidence yet sensitivity with such grace. Peggy and Dorothy's duet About A Quarter To Nine really solidifies both actresses as really memorable performers, and finding the beauty in the quieter moments. And Josefina Gabrielle's role of Maggie Jones is portrayed so wonderfully comic, a great break away from tense scenes. Echoing my comments on the men's ensemble, equally the women's is presented with such finesse, really heightening the allure of Broadway.
42nd Street is the first show I have seen heavily oriented around dance, and it is a sensational treat! I really enjoy tap dance, Bill Deamer's choreography for these sequences gives me goosebumps every time. To be executed so beautifully with such a large ensemble and challenging routines, it is honestly one of the most impressive things I have seen on a stage, out of this world! And I couldn't go without mentioning Robert Jones' exquisite costume design. I could talk about the costume in this show for hours! So many stunningly beautiful outfits that never disappoint, lending themselves so well to make the perfect atmosphere and gorgeous show. Even subtleties like gradients of colour in Getting Out Of Town, the tiny details are so thought through which makes all the difference.
What I adore about this show, is that although the cast features an impressive number of actors, not one person is ever overlooked, and everyone has a moment to shine. There is too much that I could praise about Jonathan Church's production of 42nd Street, many things I've yet to mention. Though in summary, the show consistently looks and sounds magical in every way, every single second of the show had a visual image you can cherish. You could take a picture anytime and it would look flawless, with unbeatable energy. Garcia gives a lovely post-show nod to the Curve Theatre's influence in creating the show, which is so brilliant that they have helped to produce this dream of a show! The rest of the UK better brace themselves, and get their tickets booked for the tour of a lifetime!!
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