42nd Street
|
2nd - 7th December 2013
Director/Choreographer: Helen Buick
Musical Director: Richard Stockton CastPeggy Sawyer - Samantha Finch
Julian Marsh - Martin Sampson Billy Lawlor - James Dance Dorothy Brock - Sue Prior Andy Lee - Mark Turvill Annie Reilly - Jenny Jones Maggie Jones - Tracy Hulme Bert Barry - John Payne Abner Dillon - David Annett Pat Denning - Richard Lee Phyllis Dale - Francesca Cave Lorraine Fleming - Louise Elliker |
Chorus
Liam Healey, Pamela Lee, Leah McBead-Willis, Barbara Milner, Kazz Newstead, Bob Noble, Steve Nottage, Claire Shilling, Georgina Taylor, Janet Turner & Sue Warren
NODA Review
This wonderfully vibrant show ran for 1823 performances after opening in London in August 1984 and is not staged very often by amateur companies due to the high standard of tap dancing required by those taking part.
Because of this I did wonder how you would cope with not only the quantity but also the quality of dancing required. I’m delighted to say it was an unnecessary concern.
Although for some of the company dancing is not necessarily their forte, they coped extremely well with the routines and had obviously worked incredibly hard to do so. On occasion there were less complicated steps than those of the principal dancers, but everything blended in nicely and Helen had done a great job on the choreography.
The music was once again safe in the hands of musical director Richard Stockton and the overture whetted our appetite for what was to follow - a musical score packed full of well known hit songs played splendidly by the orchestra.
Backcloths of New York and the station were fine although they looked a little tired, and the stage right dressing room scene with furniture and props worked well.
Sam Finch gave a commendable all-round performance as Peggy Sawyer, the talented hopeful hoofer from Allentown P.A. Her sudden rise to stardom did not spoil her sweet nature in the slightest despite almost causing a nervous breakdown. The scene in which Dorothy visits Peggy’s dressing room was a particularly good one when, with encouragement from Dorothy, (in a cleverly choreographed wheelchair!) she gradually comes to believe that she can do what she needs to do – become a star.
As Julian Marsh the famously tough director Martin Sampson was masterly and the girls were all understandably afraid of him. ‘Lullaby of Broadway’ was a super number.
James Dance is to be congratulated on his secure performance as Billy after only five weeks of rehearsal and his singing was very good too.
I loved the ‘Shadow Waltz’ and Sue’s comical demonstration of an ineffectual attempt to keep up with the girls. In the role of Dorothy Brock she was excellent.
It was not a good idea, in fact it seldom is, to bring such a principal back on stage as a member of the chorus. It really doesn’t work and destroys the credibility of the character, especially if no real attempt is made to disguise the actor.
Ann ’Anytime Annie’ Reilly is a great role; the brassy, outspoken member of the chorus line and Jenny made the most of it giving a confident and notable performance.
As the co-writers of ‘Pretty Lady’, Tracy Hulme and Johnathan Payne played their respective roles of Maggie and Bert well. The train carriage was fun and ‘Shuffle off to Buffalo’ was a good number.
Pat Denning was one of the best roles I’ve seen Richard take. He was utterly believable and I thoroughly enjoyed his portrayal of Dorothy’s old vaudeville partner and boyfriend.
Choreographer and dance director Andy should perhaps have had more involvement in the dance routines but never the less Mark Turvill acquitted himself well in the role, as did Steve Nottage as the stage manager.
David Annett had a good accent and acted the part of the wealthy Texan Abner Dillon convincingly.
Other members of the society who had smaller roles played them with conviction, and both visually and aurally added to the overall impression of a well rehearsed and well presented musical.
There was a nice ‘fill-in’ after ‘Shuffle off to Buffalo’ and for changes of scene the back stage crew worked efficiently. Those wearing short sleeves could be clearly seen.
The technical side of the production was good. The lighting plot better than in previous shows and the sound was also more consistent than previously.
Costumes were excellent, both the ones from your own wardrobe and the showgirls’ ones. Just one negative comment and that is that Peggy’s dress was dreadfully uneven around the hem.
Wigs were mostly O.K as was the make-up.
Your programme has become rather top heavy with advertisements (great for the coffers I know!) so that there is no room left for either a synopsis or a list of scenes, something I believe I have commented on in the past. If I didn’t write my notes as things happen on stage I would have no idea of the location of the musical numbers or the action. Fortunately I had a programme from another society’s production and was able to ascertain the setting.
Congratulations to you all for rising to the challenge of ‘42nd Street’ which I enjoyed very much, Thank you for inviting me to see it and also for the hospitality shown to me on the evening.
I wish WWAOS a very happy Christmas and a prosperous New Year.
E. Gloria Smith
N.O.D.A South East Regional Representative – District 12
Because of this I did wonder how you would cope with not only the quantity but also the quality of dancing required. I’m delighted to say it was an unnecessary concern.
Although for some of the company dancing is not necessarily their forte, they coped extremely well with the routines and had obviously worked incredibly hard to do so. On occasion there were less complicated steps than those of the principal dancers, but everything blended in nicely and Helen had done a great job on the choreography.
The music was once again safe in the hands of musical director Richard Stockton and the overture whetted our appetite for what was to follow - a musical score packed full of well known hit songs played splendidly by the orchestra.
Backcloths of New York and the station were fine although they looked a little tired, and the stage right dressing room scene with furniture and props worked well.
Sam Finch gave a commendable all-round performance as Peggy Sawyer, the talented hopeful hoofer from Allentown P.A. Her sudden rise to stardom did not spoil her sweet nature in the slightest despite almost causing a nervous breakdown. The scene in which Dorothy visits Peggy’s dressing room was a particularly good one when, with encouragement from Dorothy, (in a cleverly choreographed wheelchair!) she gradually comes to believe that she can do what she needs to do – become a star.
As Julian Marsh the famously tough director Martin Sampson was masterly and the girls were all understandably afraid of him. ‘Lullaby of Broadway’ was a super number.
James Dance is to be congratulated on his secure performance as Billy after only five weeks of rehearsal and his singing was very good too.
I loved the ‘Shadow Waltz’ and Sue’s comical demonstration of an ineffectual attempt to keep up with the girls. In the role of Dorothy Brock she was excellent.
It was not a good idea, in fact it seldom is, to bring such a principal back on stage as a member of the chorus. It really doesn’t work and destroys the credibility of the character, especially if no real attempt is made to disguise the actor.
Ann ’Anytime Annie’ Reilly is a great role; the brassy, outspoken member of the chorus line and Jenny made the most of it giving a confident and notable performance.
As the co-writers of ‘Pretty Lady’, Tracy Hulme and Johnathan Payne played their respective roles of Maggie and Bert well. The train carriage was fun and ‘Shuffle off to Buffalo’ was a good number.
Pat Denning was one of the best roles I’ve seen Richard take. He was utterly believable and I thoroughly enjoyed his portrayal of Dorothy’s old vaudeville partner and boyfriend.
Choreographer and dance director Andy should perhaps have had more involvement in the dance routines but never the less Mark Turvill acquitted himself well in the role, as did Steve Nottage as the stage manager.
David Annett had a good accent and acted the part of the wealthy Texan Abner Dillon convincingly.
Other members of the society who had smaller roles played them with conviction, and both visually and aurally added to the overall impression of a well rehearsed and well presented musical.
There was a nice ‘fill-in’ after ‘Shuffle off to Buffalo’ and for changes of scene the back stage crew worked efficiently. Those wearing short sleeves could be clearly seen.
The technical side of the production was good. The lighting plot better than in previous shows and the sound was also more consistent than previously.
Costumes were excellent, both the ones from your own wardrobe and the showgirls’ ones. Just one negative comment and that is that Peggy’s dress was dreadfully uneven around the hem.
Wigs were mostly O.K as was the make-up.
Your programme has become rather top heavy with advertisements (great for the coffers I know!) so that there is no room left for either a synopsis or a list of scenes, something I believe I have commented on in the past. If I didn’t write my notes as things happen on stage I would have no idea of the location of the musical numbers or the action. Fortunately I had a programme from another society’s production and was able to ascertain the setting.
Congratulations to you all for rising to the challenge of ‘42nd Street’ which I enjoyed very much, Thank you for inviting me to see it and also for the hospitality shown to me on the evening.
I wish WWAOS a very happy Christmas and a prosperous New Year.
E. Gloria Smith
N.O.D.A South East Regional Representative – District 12