Glamour, glitz, and jazz hands! 42nd Street at Sadler’s Wells Theatre takes you on a fantastically colourful journey through every stagey person’s dreams: being that lucky one-in-a-million talent to have a big Broadway breakthrough.
The story is certainly not a new one, given that the book and original movie adaptation are from the 1930s, but it remains refreshingly relatable. Set in 1933, auditions for the newest, hottest Broadway show are at full speed, when youngster Peggy Sawyer gets sucked in by the Lullaby of Broadway. From being cast as a last-resort chorus girl to becoming a leading lady, her journey and struggles have the audience rooting for her the entire show.
Despite some unnecessary complications on the way which do nothing the progress the storyline, 42nd Street is a diverting musical experience. Especially with the setbacks the entertainment world had to face during the pandemic, I feel that part of the story still hits home.
The show is carried by the lively, naïve, and incredibly positive way Nicole-Lily Baisden approaches Peggy Sawyer. She can dance, she can sing, and she is absolutely gorgeous – a speck of glitter rather than a speck of dust on the stage. I enjoyed the vocal range she displays as well as her acting. The same goes for Sam Lips, who gives us one of Broadway’s better tenors, Billi Lawlor. In an overall strong ensemble, my eyes were also drawn to Alyn Hawke and Sarah-Marie Maxwell. West End royalty Ruthie Henshall left me wanting a bit more in the acting department, especially towards the finale. However, her voice really moved me. The melancholy ‘I Only Have Eyes For You’ gave me goosebumps, and I also loved her ‘Shadow Waltz’. Adam Garcia’s take on director Julian Marsh feels a bit stiff and as if he never quite makes up his mind in which manner he wants to play him. But when he started singing the ‘Lullaby of Broadway’, I forgot and forgave what I didn’t like before. It is definitely worth hearing.
Let’s face it: although I loved the songs, nobody was there for the dames. It is those dancing feet that draw the audience in and keep everyone at the edge of their seats, happily tapping away with their fingers or even toes. 42nd Street is a show which quintessentially combines the arts, but Bill Deamer’s choreography elevates it to the next level. From the pleasing opening overture that gives the first glimpse of what is to come, with the grand joy of all the glitz of ‘With Plenty of Money and You’ and ‘Shuffle off to Buffalo’, nothing feels out of line or overwhelming. And the costumes – everything about this show was just so beautiful! The ‘Pretty Lady’ curtain and the video effects during the overture deserve a special mention, and so does the set. With touring productions, it is always a bit hit-and-miss for me. Compromises have to be made more often than not. But again, Robert Jones comes to the rescue with a simplistic metalwork set and just the right amount of art deco that made me smile.
To be honest, this show does not need a lavish set or much additional extravaganza. It has a fantastic cast, great choreography, and a timeless plot. This production of 42nd Street is a flashy, fun, and fantastic homage to everything Broadway – and theatre in general – can be.
42nd Street is on at Sadler’s Wells until the 2nd of July – find tickets and more info here!
{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}
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