42^nd Street begins with the curtain partially rising, pausing to reveal many impressively synchronised tap dancing legs and feet, before lifting up all the way to reveal the rest of the beautifully costumed chorus during the opening number, ‘Audition’.

This is perhaps a good metaphor for the show: Focus on the dancing and the spectacle. Don’t expect too much that will touch your heart or your head. There is little in the way of character development or plot (particularly from the show within a show, Pretty Lady). Instead, keep your eyes on the spangle and sparkle, get ready for more sequins than you can shake a stick at, sit back and let the visual spectacular unfold before you. 

The strength of the Wellington Musical Theatre’s production of 42^nd Street is its production values. The sets are beautiful, the lighting design effective, and the costumes… oh, the costumes. I see from the programme that set and costumes have been supplied by a UK firm and it becomes clear where the bulk of the production dollars have been directed (along with the hire of the beautiful St James Theatre).

It is perhaps the high quality of the production values that leads to equally high expectations of the performers, which are delivered on to varying degrees. From what I know of Wellington Musical Theatre, the cast is largely unpaid –and perhaps this makes the enthusiasm and commitment of the ensemble cast, particularly the chorus, all the more worthwhile. The ensemble work is a highlight, with well-choreographed pieces, in combination with the excellent sets and costumes, a pleasure to watch. Particular highlights are ‘We’re in the Money’, and the title number, ‘42^nd Street’. 

The performance of the principals is variable. There is some strong individual work. Courtenay Hale is the right mixture of pep and chutzpah as Broadway hopeful Peggy Sawyer and her dancing is full of unadulterated glee. Jeff Kingsford Brown is convincing as strung-out Broadway director Julian Marsh. Stephanie Gartrell lends her warm jazzy vocals to her numbers adding some much-needed depth in the singing department.

The remaining principals are a mixed bag. In general, the acting can be wooden at times. The American accents can be a bit hit and miss. The singing is likewise mixed, with some good and others struggling to nail it (perhaps exacerbated by some technical problems with the microphones that made some sound a little thinner and raspier than they really are).

The dancing seems the most consistently strong element throughout and kudos should go to the choreographers Belinda Harvey and Rochelle Rose (who also does a good job playing Anytime Annie).

One of the negatives (or positives, depending on which way you fall) of 42^nd Street is that the script is largely lacking in emotional depth. However, the opportunities that do exist are squandered. I am thinking particularly of the solo song, ‘I Only Have Eyes For You’, by the ageing diva Dorothy Brock played by Mary-Louise Thomas, and the final scene between Peggy Sawyer and Dorothy Brock. Both scenes have the potential to be touching and to help the audience to care more about the story and the characters, beyond just enjoying the visual feast, yet neither scene achieves this. If the performers could access emotionally and connect with the audience, it would really improve the impact of the show. 

If you are looking for a night of sparkle and old Broadway glamour, look no further than Wellington Musical Theatre’s production of 42^nd Street. Just don’t expect it to stay with you much after the lights on Broadway have been turned off for the night.  
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