There is a common rule of thumb if you want to be an actor. The show must go on. No matter who calls in sick or what prop is malfunctioning, you must be ready to get up and make the most of it. Few musicals have captured that spirit with such exuberance and toe tapping mastery quite like 42nd Street. With all the glitz and charm of a Busby Berkeley film, Musical Theater West brought the Tony-winning musical to life without missing a beat. With such timeless songs as “We’re in the Money,” it’s hard to not see why this stunning little number is deserving of as many eyes as possible. It’s a great night out and one sure to leave a smile on your face.
From the opening scene, 42nd Street establishes itself as a one of a kind show that is indebted to the one craft that the stage does better. With the curtain barely risen, the audience peers into the world of a toe dancing ensemble working through a rigorous routine. It’s something that encapsulates the first few minutes. Despite any perceived redundancy, there’s something amazing about watching the actors stay in time as some wander the stage and others perform daunting twirls and hand gestures that could threaten to throw everything off. When it doesn’t, the miracle becomes so exquisite that one can forgive the plot for any shortcomings. So long as every tap is precise, this is going to be a wonderful work of art.
The majority of the plot centers around Peggy Sawyer (Emma Nossal) as she rises from chorus girl to headline star. The cast around her bring a peppiness that allows the slapstick humor to land and every winking nod to Old Broadway to pack a punch. Given that most song numbers can’t help but show off the physicality, there’s always something to enjoy. Even during numbers like “You’re Getting to Be a Habit With Me,” the audience is treated to a Brechtian deconstruction of how a performance is created. As cameras light up the dancers, they rise on a backdrop. At 10 feet tall, there’s an elegance and awe in watching art become realized. It’s the drive that makes Peggy’s story work. She wants to make the magic happen. By the end, there’s the sense that with a little gumption, so could anyone in the crowd.
Admittedly, this is a very straightforward musical about putting on a show. It’s not the most revolutionary plot and certain dialogue-heavy scenes may lack the appeal of the spectacle surrounding them. Even then, Peggy is a likable figure who helps the audience buy into the ethos of this world. Everything about her role is more difficult than it looks, and it explains why she’s eventually accepted among her peers. They know how much it takes to make something look effortless. Credit to everyone involved that they manage to bring something fresh to these classic numbers that have been witnessed by millions for several decades. At this point, it’s a reminder of the bygone era of theater that was more about razzle-dazzle than deep, provocative drama. In that respect, the show is a home run success.
As one can guess, the show builds to its grandest number, and Musical Theater West doesn’t skimp on the extravagance. Their ability to make “Lullaby of Broadway” into a rhythmic and dreamlike ballet is a sight to behold. For younger audience members not privy to New York’s wonders, it’s also a chance to see what a hard working chorus looks like. It’s full of small moments that intricately lock the final product into place. It builds this rich emotion that differs from the otherwise fuzzy numbers. It’s a chance to mix joy and fear, producing a more complicated tone than one would expect from such a show.
All in all, 42nd Street is a winner. What it lacks in thought-provoking storytelling it more than makes up for with a chance to celebrate the art of dancing. It’s a chance to put on lush outfits and wander the stage. To hear a hoard of tap dancers in time is something that never gets old, and results in something that cannot be captured anywhere else. The live environment is necessary. By paying tribute to the performer, Musical Theater West reminds us of how much we’re probably missing. A performer’s life is back-breaking work. By taking a chance to admire it with a zippy sense of comedy, 42nd Street creates a work of art that will hopefully never go away.
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