Cross over the fairy light-fringed wooden bridge and enter the unique magic of the Kilworth House Theatre, the charm of its outdoor setting heightened by the balmy warmth of a post-solstice June evening. And, until mid-July, you’ll also be transported into the glitzy world of 42nd Street, based on the 1933 film which features songs by Harry Warren and Al Dubin and book by Bradford Ropes. Michael Stewart and Mark Bramble provided the book for the 1980 stage adaptation, which also incorporates additional songs and routines from other shows of the 1930s.
Along with its Tony and Olivier awards, there's a lot of love for 42nd Street, with its core theme of ‘unknown chorus girl gets her chance to star and save the show’. The musical has been and continues to be a regular feature on stages around the world, with numerous productions and audiences appearing to never tire of this “song and dance extravaganza”, as the original 1980 publicity promises.
The nature of this venue presents some limitations in terms of what is possible with staging, however, the combined designs of Philip Witcomb (set) and Jason Taylor (lighting) do a good job in aiding the audience’s understanding of what is one of the more meta of musicals, with 42nd Street a musical of a company’s rehearsals and performances of Pretty Lady, a musical.
In the midst of the Great Depression, a young and keen Peggy Sawyer (Mia Kobayashi) arrives in New York to try and get a role on Broadway, but while too late to audition for new show Pretty Lady, she makes a big impression on performer Billy Lawlor (Brian Ó Muirí) who helps her get a tap shoe in the door and noticed by the formidable director Julian Marsh (a stern Lewis Griffiths). Julian has doubts about leading lady Dorothy Brock (Michelle Bishop, who delivers her one-liners with great aplomb); Brock’s star is fading, but she has the support of show benefactor and hopeful suitor Abner Dillon (Pete Gallagher).
Suffice to say, misunderstandings and missteps occur, resulting in Peggy getting her moment in the spotlight to save the show. As Marsh persuades her, you came here as a million-to-one shot, and you’ll come home a star. In these days of reality TV shows, this is a relatable concept, but even without that, Mia Kobayashi is a charismatic Peggy, her confidence in herself growing as her journey progresses.
Director and choreographer Lee Proud has done a fantastic job bringing out the best in the sublime score and sheer joy of dance with an exceptional, 22-strong cast. Philip Witcomb’s costume designs really add to the glamour and glitz; even the performers’ rehearsal outfits look fantastic, but it’s sequins galore for “We’re in the Money” and “42nd Street”. “The Lullaby of Broadway” is another highlight.
No moment is lost to bring out the humour in this show, and Rosie Strobel as Maggie Jones leads the charge here.
Some depth to characterisation and distinctions between what is 42nd Street and Pretty Lady may get a little lost with those not familiar with the show. That said, with superb vocal performances, exuberant choreography and talented performers, this production is an uplifting summer treat.