Directed by Jonathan Church
Music by Harry Warren
Lyrics by Al Dubin
Book by Michael Stewart and Mark Bramble
Choreography by Bill Deamer

Tickets Begin From £13.00

Nostalgia sells. It’s a comforting, even addictive reinvigoration in these often miserable moments. But 42nd Street isn’t cheapening out on the good times, as it pours every ounce of itself it can into an eager and hugely receptive crowd at the Theatre Royal Glasgow for this firm-favourite musical which puts plenty of pep in its step.

Usually, the haughty nose of musical theatre looks to the lack of a substantial plot as a sign of the genre’s ‘lesser’ qualities. But what 42nd Street does with a clean and simple narrative is focus on going magnificently over-the-top and focusing the talent and skill in all of the right areas: the dance and the vocals. An enormous glutton for superb tracks, this smorgasbord of terrific numbers from Harry Warren, with lyrics by Al Dubin, ensures there isn’t anyone in the audience not tapping their heels or balancing on the toes to get a closer look at it all.

These songs are the vehicles for Bill Deamer’s tap-heavy and spectacular choreography, something director Jonathan Church drives to the forefront of the show. It’s silly, it’s kitschy, but there’s genuine heart in moments: the cold opening for I Only Have Eyes For You, sung in a capella, or the classic number of Lullaby of Broadway all punctuate the comedy and the light-heartedness as sublime numbers with genuine presence and weight. But that won’t stop classic hits like We’re in the Money or You’re Getting to Be a Habit With Me from bringing the house down.

There is still a story here, as the famous theatre director Julian Marsh returns to the stage for one final grand hurrah to show he’s still got it. But that doesn’t mean there aren’t a few roadblocks along the way. Holding the purse strings of the show is Anthony Ofoegbu’s Abner Dillon, who demands that his honey, *ahem* ageing starlet Dorothy Brock (Samantha Womack), who balances a rootin’ tootin’ cowboy sugar daddy with her true love, and her true passion for performance, be the star of Pretty Lady, the show within 42nd Street.

But it’s time to put it behind you Brock, there’s a new star in town. The speed and dexterity with which Nicole-Lily Baisden sparks the stage scatter any of that nostalgic dust which may have settled – revitalising the touring production for new audiences and returning lovers of the old-timey fantasy of theatre. They shine as Peggy Sawyer, a young hopeful from Allentown looking to start up a career in the ‘biz’.

But the ladies aren’t the only stars onstage, with Sam Lips taking on the clearest and most powerful vocals of the evening as Billy Lawlor. With marvellously acute diction and projection, evidently able to blow the roof off, but controlling it, Lips is the closest thing to a genuine old-school musical star on the stage. But not far off is Michael Praed’s gruff and determined director Julian Marsh. Performance-wise, Praed is sitting on top of the hill with their characterisation of Marsh, charming and witty but just harsh and brash enough to remind us what’s at stake. The entire cast benefits from a terrific ensemble, each with a sense of character and skill: including Alyn Hawke, Kevin Brewis stepping in as Bert Barry making a terrific duo with Faye Tozer, and a terrific Sarah-Marie Maxwell as Ann Reilly (Anytime Annie).

The only avenue in which the bright lights of 42nd Street don’t quite illuminate is with the grandeur of the setting and design. Robert Jones does a stellar job with the downscale of the show for a touring production – but the loss of that finale staircase is a bitter pang for an otherwise perfect experience. The shift to a more minimalist design, however, offers up an opportunity to really strike out with the lighting, Ben Cracknell’s elegant design makes use of striking crimsons and blues to set it all off with a ‘pop’ and a sombre ghost light leaves a distinct impression for those who see the show’s connection to the great depression, to unemployment and strife.

But it’s near impossible to remain in the doldrums when this is presented before you. 42nd Street’s Performances throughout the show are pitched to the perfect level of sincerity, if cheesy, and match well with the energy of the lavish score and bold dance routines. It’s a bright, glittery fantasy of the best order: bouncing and a charming love song (and dance) to the rejuvenating magic of performance.