42nd Street – Sadler’s Wells

Pictures: Roy Tan

42nd Street continues at Sadler’s Wells, London until 2 July 2023.

Star rating: five stars ★ ★ ★ ★ ★

Coming perhaps a little bit too early after a spectacular London revival at Theatre Royal Drury Lane, which had a lavish set, costumes and productions values, is a new production of 42nd Street which opened at Leicester Curve last month and now plays for a limited run at Sadler’s Wells before embarking on an extensive UK tour. Though not quite as spectacular as previous productions, this version boasts a stellar cast and excellent choreography.

Playing the faded star Dorothy Brock, Ruthie Henshall manages to show off her unique vocal phrasing, particularly in a rendition of ‘I Only Have Eyes for You’, and to project her own star quality while persuasively playing an inadequate and angry leading lady in this show within a show.

Adam Garcia gives a commanding performance as director Julian Marsh. Seeing him dance with the other performers in the encore number provides an added thrill for the audience, demonstrating that Garcia is still at the top of his game in a show that otherwise doesn’t require him to dance.

Another West End veteran, Josefina Gabrielle exudes cheerful warmth as Maggie Jones. She and Les Dennis, playing her husband Bert Barry, have wonderful chemistry in their duets, especially ‘Shuffle Off to Buffalo’.

The young leads are similarly excellent, notably the vocally impressive US-trained Sam Lips as Billy Lawlor, the show’s leading and dancing tenor – but the evening really belongs to the vivacious Nicole-Lily Baisden who makes a perfect Peggy Sawyer, with vocal and tap-dancing talent to die for.

The supporting cast, including Michael Praed as Brock’s lover and future husband Pat Denning and Anthony Ofoegbu as sugar baby Abner Dillon, is quite convincing.

The dancing ensemble is particularly impressive, perfectly drilled by Bill Deamer, one of Britain’s leading directors and choreographers, who here manages to respect the style of Gower Champion’s original choreography while infusing his own ideas at unexpected moments, such as in the overture and ‘Young and Healthy’.

Jonathan Church has done a good job directing the show, giving it a fresh feeling – definitely a plus, since 42nd Street has lately been done a bit too much, even in Paris.

The sets and costumes by Rob Jones are efficiently minimalist, especially compared with Drury Lane’s unforgettable production, and the excellent lighting by Ben Cracknell and video projection design by Jon Driscoll, with authentic Great Depression footage, add to the production’s new perspective, reminding the audience of the crisis that was happening behind the neon lights.

Of course, we can see some parallels with the current cost of living crisis, which explains why this show is so popular.

Like in the 1930s, we hunger for fluffy and purely escapist entertainment, and Church has given us just that.

The fact that this production is not as grandiose in scale helps accentuate the strength of Michael Stewart and Mark Bramble’s deceptively simple book, and the unforgettably hummable songbook by Harry Warren and Al Dubin, orchestrated by the great Larry Blank and brought to life by a dream of a cast. It makes for an experience not to be missed.

Patrick Honoré