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18 Photos: Brinkhoff & Moegenburg 42ND STREET Way back in 1932, Depression-weary moviegoers had over-dosed on a lethal cocktail of mindless musicals that existed for no reason other than to take advantage of the relatively recent arrival of sound. By 1933, most Hollywood studios imposed a moratorium on the genre, ruthlessly excising all or most of the songs from those still in production. At Warner Bros., however, head honcho Daryl F. Zanuck was persuaded to have one last crack at a musical. The result was 42nd Street. The film was a humongous hit and overnight revolutionised the movie musical and brought it back into vogue. There is nothing revolutionary, however, about the 1980 stage version adapted by Michael Stewart and Mark Bramble from Bradford Ropes’ novel and (uncredited in the programme) the screenplay by Rian James and James Seymour. With an augmented score by the great (and under-appreciated) Harry Warren and a clutch of politically incorrect lyrics by Al Dubin, the spirit of the film’s original choreographer – the legendary Busby Berkeley also not credited in the programme – looms large in this absolutely sensational revival. <strong>This</strong> is vintage Broadway glitz and pazazz on a scale rarely encountered in today’s more probing content-driven musicals. And for lovers of unfashionable tap, a guilty pleasure from the moment Drury Lane’s imposing red velvet curtain rises till it falls to deservedly frenzied applause. The backstage story could not be more familiar and is dispensed with on the back of a postcard: unknown chorus girl Peggy Sawyer lands the leading role in a new Broadway musical called Pretty Lady when the show’s leading lady, Dorothy Brock, breaks her ankle. Peggy famously goes out a ‘youngster’ and comes back ‘a star’. Top billed Sheena Easton, still in commanding voice, is the impossibly demanding diva Brock, and Claire Halse the fleet-footed ingenue who nimbly taps her way from obscurity to fame. Helping Peggy in her quest for stardom is Julian Marsh, Pretty Lady’s longsuffering director, excellently played and sung by Tom Lister, and the show’s smitten tenor Billy (Stuart Neal) as well as an ensemble of supportive chorus boys and girls, notably Emma Caffrey as Anna and Billie Kay as Diane.There’s terrific support, too, from the hearty Jasna Ivir and Christopher Howell as the show’s composers. Of course you’ve seen it all before – many times. But as directed by Mark Bramble with such non-stop unalloyed panache and energetically choreographed by Randy Skinner with good oldfashioned Broadway know-how, this is one musical that could have danced all night – and does. Apart from the mood-setting opening number, particularly eye-catching is Stay Young and Beautiful in which the inventive use of an overhanging mirror helps recreate one of those kaleidoscopic Busby Berkeley images which became his trademark. We’re in the Money – one of the most endemic of all Depression songs – is another show-stopper, as is the sumptuous finale (to the tune of 42nd Steer) in which the full chorus, glitteringly costumed by Karen Short, who has excelled herself, walk down a Ziegfeld-like staircase festooned with golden light-bulbs. Indeed, all the sets by Douglas W. Schmidt are an extravagant eyeful. Clearly no expense (or talent) has been spared in the mounting of this rapturous, blissful monument to the golden age of both the Hollywood and the Broadway musical. It deserves to run forever. CLIVE HIRSCHHORN t h i s i s l o n d o n m a g a z i n e • t h i s i s l o n d o n o n l i n e
PLAYS TRAVESTIES Tom Stoppard’s dazzling comedy of art, love and revolution features James Joyce, Tristan Tzara and Lenin as remembered – and misremembered – by Henry Carr, a minor British diplomat in Zurich 1917. Until 29 April APOLLO THEATRE Shaftesbury Av., W1D (020 7851 2711) THE COMEDY ABOUT A BANK ROBBERY One enormous diamond, eight incompetent crooks and a snoozing security guard. What could possibly go right? CRITERION THEATRE Piccadilly Circus, (020 7492 0810) THE PLAY THAT GOES WRONG A Polytechnic amateur drama group are putting on a 1920s murder mystery and everything that can go wrong... does! DUCHESS THEATRE Catherine Street, WC2 (0330 333 4810) THE GLASS MENAGERIE John Tiffany's acclaimed 2013 Broadway revival of Tennessee Williams' play starring Cherry Jones. Until 29 April. DUKE OF YORK’S THEATRE St Martin’s Lane, WC2 (020 7492 1552) THE WOMAN IN BLACK An innocent outsider, a suspicious rural community, a gothic house and a misty marsh are the ingredients of this Victorian ghost story. FORTUNE THEATRE Russell Street, WC2 (0844 871 7626) THE MISER Actor, writer, and two-time Olivier awardwinner Griff Rhys Jones returns to the West End in a hilarious new adaption by Sean Foley and Phil Porter of Moliere’s classic comedy. GARRICK THEATRE Charing Cross Rd, WC2 (0330 333 4811) THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME Based on Mark Haddon’s best-selling novel, the play follows a 15 year-old maths genius who tries to unravel the mystery of his neighbour’s murdered dog. GIELGUD THEATRE Shaftesbury Avenue, W1 (020 7452 3000) WHO’S AFRAID OF VIRGINIA WOOLFE? Imelda Staunton and Conleth Hill star in a new production of multi Tony Award and Pulitzer Prize-winning playwright Edward Albee’s landmark play, directed by James Macdonald. HAROLD PINTER THEATRE Panton Street, SW1 (0844 871 7627) CHRIS de BURGH & BAND ‘A BETTER WORLD’ LIVE 2017 Royal National Theatre Plays in repertory OLIVIER THEATRE. TWELFTH NIGHT Simon Godwin directs this joyous new production of the Shakespearian classic, with Tamsin Greig as a transformed Malvolia. LYTTELTON THEATRE UGLY LIES THE BONE Award-winning American playwright Lindsey Ferrentino makes her UK debut with this honest and funny new drama, directed by Indhu Rubasingham. ANGELS IN AMERICA Tony Kushner’s multi-award-winning two-part play is directed by Olivier and Tony awardwinning director Marianne Elliott. DORFMAN THEATRE CONSENT Nina Raine’s powerful, painful, funny play sifts the evidence from every side and puts justice herself in the dock. NATIONAL THEATRE South Bank, SE1 (020 7452 3000) ROSENCRANTZ & GUILDENSTERN ARE DEAD The play that made a young Tom Stoppard’s name overnight, returns in its 50th anniversary celebratory production. OLD VIC THEATRE The Cut, SE1 (0844 871 7628) continued p.21 Wednesday 26th April LONDON PALLADIUM 0844 412 4655 rutlive.co.uk 19 WWW.TICKETLINE.CO.UK 0844 888 9991 www.cdeb.com facebook.com/cdebofficial A KENNEDY STREET PRESENTATION BY ARRANGEMENT WITH KENNY THOMSON MANAGMENT LTD. OUT NOW! t h i s i s l o n d o n m a g a z i n e • t h i s i s l o n d o n o n l i n e
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