Explosion of energy keeps going
“42nd Street”
Regent Theatre, August 11-20
Produced by: Abbey Musical Theatre
Directed by: Dean McKerras
Choreography: Dean McKerras and Maxene Jeffares-Greer
Reviewed by EMMA GOODWIN
It has a long and revered history, so taking on a musical of such a high pedigree shows the chops of Abbey Musical Theatre.
“42nd Street” would make a great charade title, after all it's been a book, a film and a musical production but there was no miming on the Regent stage last night; in fact, the cast was in full voice and there was some serious hoof-flicking going on.
As the curtain rises on a dozen pairs of feet tapping like fury in perfect unison, it would be fair to say that a few people shifted a little further forward in their seats to get a closer look.
Then, there they were, the young and hopeful chorus line; all wide-eyed, toothy-smiled and big arm circles in a classic tap show routine. This was an explosion of energy that promised more, and the first routine left not only the cast but the audience breathless, and there was another three hours to go.
But could they keep it up
Based on the novel by Bradford Ropes and its 1933 film adaptation, “42nd Street” focuses on the efforts of famed dictatorial director Julian Marsh to stage a successful production of a musical extravaganza at the height of the Great Depression.
It's a show within a show, with the plot following the cast members and, in particular, newcomer Peggy Sawyer, played by Alexia Clark, rehearsing ‘Pretty Lady’, which is going to secure the financial future of Marsh and the careers of the cast.
To take people's minds off the fact that there was no money around, the costumes had to be bigger, brighter and more glamorous than ever, and this is perfected in the production on our own Broadway.
Clark has spent many hours on stage in school productions and this part was going to test the Year 12 student's acting, dancing and singing talent. She certainly can dance, with fast, accurate and light feet and the theme calls for larger-than-life acting, but by the end of Act 1 the plot really hasn't allowed the audience to make up its mind about whether her voice is as strong as her dance prowess. And then she belts out ‘42nd Street’ and the defence rests.
This young lady is a dynamic performer and she is surrounded by an equally capable cast.
Andrea Potts plays a larger-than-life Maggie, has a bigger-than-Texas voice and plays off perfectly against Mark Kilsby's slightly camp Bert. And it would be unfair to leave out Gayle Shirley (Dorothy Brock) and David Mock (Billy Lawlor).
There's a slightly risque Freda Stark-inspired routine with the girls in nude-toned body suits extolling the virtues of keeping young and beautiful and of course there's the obligatory head dresses and sequins.
Gorgeous costumes, a soaring musical score, inspired choreography and a very well-chosen cast pulls together a show that will bring a smile to anyone's face whether you like musical theatre or not.
- Manawatu Standard
Grand showcase
“42nd Street”
Abbey Musical Theatre
Regent Theatre
Director/Choreographer: Dean McKerras
Musical Director: Barry Jones
Reviewed by SANDRA CROSBIE
42nd Street opened with a “razzle dazzle” last Thursday night at the Regent Theatre. Total professionalism displayed in all aspects of the show has you in disbelief this is an amateur production.
From the set, lighting, costumes and sound, to the cast and musicianship, this is a grand showcase of the huge talent in the Manawatu.
Set in the 30s when theatre was suffering because of the Depression, the show brings to life what musical theatre is all about – telling a story through song and dance. In this show, dance is given prominence, particularly tap dancing. My young daughter tapped herself all the way to the car after the show.
Credit has to be given to tap choreographer Maxene Jeffares-Greer for her preparation of the stunning dance ensemble.
The musicianship was outstanding, especially the big-band sound the full orchestra threw out from the pit. Also, the vocal harmonies coming from the backing vocals were stunning, with my favourite being Shuffle Off to Buffalo.
Winning the audience was the duo act of Andrea Potts and Mark Kilsby as Maggie Jones and Bert Barry. Their characters were personified to perfection, and when Potts breaks out in song she displays her superb vocal talent. Fresh young talent was on display with two of the leads, Peggy Sawyer (played by Alexia Clark) and Billy Lawlor (David Mock) – both are high school students, yet gave performances far beyond their years.
Years of theatre experience was showcased by Gayle Shirley in her role of Dorothy Brock, and the other standout lead was Andrew Mock as Julian Marsh, the show’s producer.
You won’t be disappointed if you need a winter treat of high-class and polished entertainment.
- The Feilding Herald
Stroll on 42nd St
“42nd Street”
Abbey Musical Theatre
Regent on Broadway
Until August 20
Reviewed by DAVID COLLINS
42nd Street” is a great production and a whole bunch of fun to watch.
From before the show, as the cast loiter around the theatre, until the finale, when they erupt into a celebratory blur of song and dance, it barely let go of the audience once it had them.
And it had them from the start with a rousing first number. The curtain lifted only slightly to reveal tapping feet, shifts of colours, sound and motion, bringing spontaneous applause from the audience.
The story is set in the aftermath of the Great Depression.
Producer Julian Marsh – played with firm hand, but soft centre by Andrew Mock – and his theatre company are doing their utmost to resist the onslaught of the world and the breadlines.
Into rehearsals stumbles Peggy Sawyer – the amazing Alexia Clark – a naïve wee thing from a small town.
What she lacks in experience she makes up for with raw talent and soon finds herself with a tentative spot in the chorus line.
It’s a risky venture for Marsh.
So much so that he’s forced to give waning star, Dorothy Brock – played by the fantastic Gayle Shirley – the lead, mostly.
With her comes name recognition and much needed funding from her Sugar Daddy.
A tumultuous mix at best, disaster soon strikes leaving the show and everyone’s livelihoods in jeopardy.
Though the ending is never in doubt – hint: it’s a happy ending – the trip there is grand stuff, which days afterwards still has this reviewer threatened with violence at home if he continues to hum the tune of the title song.
So many spectacular moments: The shadow play as Brock croons during Shadow Waltz; the titled reflection in Keep Young and Beautiful turning dancing into synchronised swimming; the larger Dames number cascading and rolling from a snowball to an avalanche of song and dance; Shuffle Off to Buffalo had a train carriage sequence like something out of the movie Some Like It Hot – behind-curtain hijinks included; the staircase routine during the final number, 42nd Street, a bustle of tapping feet and moving bodies, clad in bright gold all under brighter lights.
It’s a credit to the cast and the direction and choreography that at no times was the action dwarfed by the large space.
Framed by impressive backdrops, every performance was big and bumped up in scale, characters’ ambitions, fears and courage writ large.
42nd Street’s got moxie, kid, and shouldn’t be missed.
- The Tribune
Lavish musical enthralling
“42nd Street”
Regent on Broadway
Until August 20
Director/Choreographer: Dean McKerras
Musical Director: Barry Jones
Tap Choreographer: Maxene Greer
Reviewed by SHONA LINGHAM
42nd Street was originally a novel, then a 1933 film. This musical version, first staged in 1980 is set in the 1930s, when the Depression was biting deep in New York.
The story follows a young woman called Peggy Sawyer, who dreams of making it on Broadway.
She travels to the auditions from rural Pennsylvania, but narrowly misses them. On the last day before the show opens Peggy crashes into Dorothy, the leading lady in the show, knocking her to the stage and breaking her ankle.
The other cast members convince the director to let Peggy have a crack at the role – which was the break she needed.
The story is about Peggy not giving up hope and being in the right place at the right time.
It celebrates the essence of what dreams are made of when she makes it into the musical as a dancer.
The choreography was brilliant through the whole show; when the whole crew was up on stage tapping and dancing it definitely made you sit up and watch, which got the audience excited.
Overall this show is well worth the effort to go and see this brilliant production with bright lights and brilliant costumes.
Audiences will be delighted by the most lavish production and I’m sure all ages will enjoy this wonderful story.
- The Guardian
