|
|
|
|
|
42nd
Street Grand
Theatre, Wolverhampton **** THERE is something quite hypnotic about a well performed tap routine. Something about the sound of a chorus of feet hoofing away immediately transforms you to the heyday of Hollywood. This
show's opening number does exactly that and delivers an energy that is
mostly repeated through 42nd Street relies more on the
pulse of its dance routines than the strength of its script to keep the
audience entertained. The loose storyline involves a small time chorus
girl who gets her big chance to shine and a big shot producer with the
power to make dreams come true against a background of The Great
Depression. That's pretty much it in terms
of plot but to dismiss it on that basis would be unfair. This is a show
that comes alive when the routines kick into action, and Graeme
Henderson's excellent choreography does not disappoint. Big
numbers need big ensembles and a huge injection of energy to do justice
to classic songs like Lullaby of Broadway, Dames and. of course,
42nd Street itself. The company, in this case, gets
it just right.
Musical theatre heavyweight
(as in reputation, not girth), Dave Willetts is assured and commanding
as Broadway impressario, Julian Marsh. His final rendition of
42nd Street packs a real punch and is a reminder of just how good a
singer he still is. The same, too, goes for Martii Webb as Dorothy
Brock. Webb has a beautifully controlled and distinctive voice -
showcased perfectly in the song I Only Have Eyes for You.
Jessica Punch as Peggy Sawyer, the small town girl made good, is a
delight . . . and funny too. A welcome nod to the genius of
film director , Busby Berkeley comes in the form of a giant mirror
hanging over the dancers in one routine, allowing the audience to see
the shapes and formations from a birds eye perspective. A lovely effect
but a little under used. The overall ‘look' is vivid -
a vast array of coloured costumes, smoky spotlights and gaudy
backdrops all of which add to the feel of a Broadway theatre on opening
night. And no 42nd Street set would be complete without a huge staircase
with lights on each level. Who wouldn't want to tap their way down one
of those? A small gripe . . . sound
levels on the dialogue seemed very ‘ tinny' at times. Perhaps a tweak or
two is needed. But hey! It's first night - it happens. As the nights draw in and the
cold weather bites, you could do a lot worse than sit and be entertained
by this warm and glowing revival of a feel good show from UK
Productions. Tap into it now, before it shuffles off somewhere else. To
03-11-12. Tom Roberts A view from down the street . . . **** ALTHOUGH set in 1933
at the height America's Great Depression, this award-winning musical
still has the glamour, pace and passion to delight modern audiences. Some of the first nighters at
the Grand gave the revival of the famous song and dance show a standing
ovation, and how the terrific cast deserved it. There's never a dull moment in
the story of small town girl Peggy Sawyer's dramatic rise from unknown
chorus girl to a star when the leading lady of a Broadway musical,
Pretty Lady, breaks an ankle. Stunning tap dancing,
spectacular costumes and memorable songs like Lullaby of Broadway, We're
in the Money and Keep Young and Beautiful ensure the action zips along,
and there are several outstanding performances. Jessica Punch sparkles as
Peggy, with Marti Webb singing beautifully in the role of injured star
Dorothy Brock and Birmingham's Dave Willetts superb as the gravel-voiced
Broadway director Julian Marsh. Directed by Mark Bramble with
Graeme Henderson's slick choreography and Gareth Williams' musical
supervision. To 03.11.12 Paul
Marston
|
|
|
|
