Skip to main content

Review of 42nd Street at Milton Keynes Theatre

42nd Street as a stage musical was a long time in the making. Based on the Bradford Ropes novel first published in 1932 and created into a 1933 Hollywood movie, the musical for the stage did not appear until 1980. It was a bold move to create such a spectacle in the eighties based on a bygone era. However, with a budget of $3, producer David Merrick made the bold move a success, running for nine years before closing after 3,486 performances. So, another 43 years after that stage premiere, does the musical 42nd Street still provide a toe-tapping spectacle?

The resounding answer is yes. Telling the story of a director and his drive to get his new show Pretty Lady on stage, the production of 42nd Street is a spectacle rarely seen of this magnitude on tour. It oozes quality and a large cast, admittedly cut back from a London or New York residence, but still, a bold enterprise for on the road. The cast has a collection of familiar faces and lesser-known stage stalwarts and no one is baggage or placed here only as a star name to bring the punters in.

Starring as Dorothy Brock, a stage superstar whose star is slowly fading in favour of the "young and beautiful dames" is Samantha Womack and she is a fabulous presence on stage and is perfect at the cutting line. Many of those putdowns are aimed at rising star Peggy Sawyer, played by a relative newcomer to the stage, Nicole-Lily Baisden, who on the evidence here is heading for immense stardom herself. A multiple threat of singing, dancing, and acting, she is one to watch.

The absolutely brilliant Sam Lips returns to the Milton Keynes stage following his recent brilliant role in Singin' in the Rain. Here he presents all the same charm as swarve company actor Billy Lawlor. The best singer in the show? Yes, very likely. Also returning after Singin' in the Rain is the more familiar face of Faye Tozer, and here she is once again a quirky gem as Maggie Jones, and given much more to do in 42nd Street, she doesn't disappoint. Forget any thoughts of Steps, this is where Tozer shows the talent she truly has. Finally, but by no means least, of mention from the cast Michael Praed as the show within show director Julian Marsh. He portrays the driven man with control handling the potential horridness of the character with a light touch to allow you to love him by the end despite how he treats people at times.

However, to mention just a few from the cast means to forget a few as well and that would be wrong as, as already suggested, this show has no dead weight in the cast. The full company are brilliant, and this is in fact key as this show, as expected has some incredibly bold full-company numbers. Let us just say that none disappoint. Bill Deamer's choreography is visually striking and performed sublimely. Also of visual delight is Robert Jones and his endless multitude of stunning costumes and colourful set pieces. It is, just like the Hollywood of old, a kiss of beauty on the eyes.

Sound, often a frustrating aspect of touring shows, is here, absolutely brilliant. No inaudible lines, full lyrics clear, perhaps the best I have heard outside of London. Immense credit to sound designers Ian Dickinson and Gareth Tucker for their work.

Musical director Grant Walsh and the musicians fill the theatre with stunning music for the company to sing, and even for those unfamiliar with 42nd Street, you are in for a treat with many songs that will be very familiar to you within this show. Director Jonathan Church keeps everything moving at pace, losing no momentum between scene changes.

42nd Street is a love letter to the past glory days of Hollywood and captivates from beginning to end. Stunning to look at, brilliantly performed by all the cast and just simply superb theatre. Go and meet those dancing feet and you will be in for a glorious night.

A charming delightful journey back to a bygone time for what is a must-see show.


Performance reviewed: Monday 28th August 2023 at the Milton Keynes Theatre, Milton Keynes.

42nd Street runs at Milton Keynes Theatre until Saturday 2nd September 2023.

For further details about Milton Keynes see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Production photos: Johan Persson


Popular posts from this blog

Review of Benidorm Live at Milton Keynes Theatre, Milton Keynes

I arrived at Milton Keynes Theatre to see this touring stage version of ITV comedy hit Benidorm with a distinct lack of knowledge. Having never seen the show, my information stretched as far as knowing it was set in a holiday resort in Spain (the title helps there), and that the humour generally resorted to the cruder end of the spectrum. However, having graced the screens for ten years, it was clear that Derren Litten's show had garnered quite a following, and indeed it was clear from the reception of the audience on the night, that this following was pretty much filling the theatre. The plot, such as it is for this stage show, is very much drafted from an episode of Fawlty Towers , and made a great deal more adult with its humour. The hotel manager, Joyce Temple-Savage (a sharp performance by Sherrie Hewson) gets wind that a hotel inspector is in, and the scene is set for seeking them out and all the obvious cases of mistaken identity. It's thin and doesn't fill

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas

Review of Oliver! by R&D Youth Theatre at Royal & Derngate (Royal), Northampton

Two years ago this week, I saw for the first time the older faction of the Royal & Derngate Youth Theatre perform Sweeney Todd (I had seen one month before the younger part create the delightful Honk!). While a quite brilliant level of standard has continued in their productions since, nothing has quite reached that optimum point of Sweeney for me. Oliver! is their latest production and this epic scale show merges all of the age groups together to create a spellbinding piece of youthful and lively theatre that is rightfully packing the auditorium like no R&D youth show before. I have to say straight up that Oliver! does not beat the legend that is Sweeney for me, however it comes as close as we have ever been to doing so. A lot of this perhaps is down to my personal taste and Sweeney's two stunning leads, which have yet to be bettered. The macabre nature of Sweeney also gelled with me and Lionel Bart's tale, despite being packed with more known tunes than seems possib