Presented by: The Metropolitan Musical Theatre Company of SA (aka The Met)
Reviewed: 19 October, 2023
“Come and meet those dancing feet on the avenue I’m taking you to, 42nd Street”. This could be the publicity header for the Met’s latest production, 42nd Street. This is what is called a ‘dancers’ show – in particular, a ‘tap dancers’ show. And Boy, has the Met rustled up a plethora of extremely talented tappers. From the moment that the curtain literally goes up the audience is greeted with a stage full of dancers perfectly in sync with each other, toe shoes tapping tremendously, hand movements precise and wall to wall smiling teeth. The dancers in this production are fantastic, including the two young principals (but more about them further down), and are a major part of what makes this show work. Jacinta Vistoli has choreographed the numbers (and there’s a lot of them) superbly. She has recreated the Busby Berkley style perfectly, with his famous head bobs, the smiles that only dancers can get away with, and tons of precision tapping. To (stealing from another musical, Mack & Mabel ) tap your troubles away.
Musical Director Tammy Papps adds to all this gaiety with her very tight orchestra and making sure that the vocals are spot on. Ben Saunders’ direction moves people around competently and surely. The set was workable and basic, with great back projections. The costumes help make this production very colourful. However, Peggy Sawyer is a little country hick from Allentown when we first meet her, not a Socialite fashion plate as her first wardrobe suggested – loose the hat!!
On Opening Night Act One seemed to be missing some oomph. The energy was certainly there from most of the cast, but there was some indefinable something not quite right. It could well have been Opening Night nerves, because Act Two was great with everything falling into place. The main Act One nerves came from Angus Smith as Julian Marsh. Initially he stumbled over lines quite often. But once he settled down near the end of Act One, Act Two saw him soar. His two solos, the beginning of Lullaby Of Broadway and his Finale rendition of 42nd Street (over which this reviewer got goosebumps) were worthy retribution.
Jenny Scarce as Broadway star Dorothy Brock was in fine voice and hilarious. I would have liked her to be just a tad bitchier though. Barry Hill was his reliable self as Kiddie Car tycoon Abner Dillon, with Jay Mancuso in the ‘small but vitally important to the plot’ non-singing role of Pat Denning. Barbara Nutchey, Rebekah Goodall and Emily Fitzpatrick (Annie, Lorraine and Phyllis respectively) are delightful as the main chorines.
Sophie Schwab as Peggy Sawyer is sparkling in the lead role. She has the sweetness required down to a lovely fine art – without ever being overly sweet. Watch out for her superb understanding of comedy in Act Two. Liam Phillips playing Juvenile Lead, Billy Lawler, is a great find. He has it all: good looks, great singer and dancer, and is another one who handles comedy well.
Apart from the slight nerves mentioned earlier and some sound glitches with one actor, which I’m sure have now been sorted out, this production of 42nd Street should send you home smiling and with a spring in your step.
Reviewed by Brian Godfrey
Photo credit: Jen Bayez
Venue: The Arts Theatre
Season: Until Saturday 28 October, 2023
Bookings: https://themet.sales.ticketsearch.com/sales/salesevent/109862
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