Tag Archives: John Reddel

42nd Street

42nd Street


Upstairs at the Gatehouse

42nd Street

42nd Street

Upstairs at the Gatehouse

Reviewed – 13th December 2019



“we are swept along by the sheer feelgood factor built into the show, and the absolute precision and fluidity of this all-singing, all-dancing cast”


Based on the novel by Bradford Ropes, and the 1933 film of the same name, “42nd Street” is a Jukebox musical of sorts. There were barely five songs in the film, so the show ransacks composer Harry Warren’s and lyricist Al Dubin’s stockpile of numbers they had written for other films at around the same time. Whilst this is a bonus, there are moments when it appears obvious that these musical numbers were not written for this show, and they feel shoehorned into Michael Stewart’s and Mark Bramble’s whimsical and high-spirited script. But this is easily forgiven as we are swept along by the sheer feelgood factor built into the show, and the absolute precision and fluidity of this all-singing, all-dancing cast.

The show focuses on the efforts of celebrated but tough director Julian Marsh to mount the ‘greatest musical on Broadway’ during the Great Depression. He needs a hit and he needs the money, so he hires fading diva, Dorothy Brock, because of the investment pouring from her sugar-daddy. Meanwhile, out-of-town Peggy gate-crashes the auditions stealing hearts, and then the spotlight. An accident takes Dorothy out of the show and the rest is beautifully predictable and heart-warmingly uplifting.

The defining moment of the plot, just before Peggy steps in to save the show, occurs just before interval when the director cancels the performance and urges the audience to collect their refund at box office. A clever theatrical device that sets up the second act; but one that also reflects this particular production. Stylistically it is a show of two halves. Initially the pace is a touch laboured, lacking the light-hearted approach needed to do justice to the throwaway comedy of the dialogue. There are sparks, but the fire doesn’t quite catch. But, boy, the second act comes into its own, as do the cast. “42nd Street” depicts a bygone era, before reality celebrity and social media, when talent was what made a star. And Katie and John Plews have assembled a star-studded team. Each a triple-threat, they work together as a synchronised unit with barely a foot or a note out of place. Simon Adkins’ choreography could easily quickstep down Highgate Hill into the West End.

The show belongs to them all, the ensemble and principals alike. Kate-Anne Fenton’s Peggy is a light under a bushel, humble yet unafraid to be coaxed into living her dream. She is well complemented by the heartthrob voice and looks of Rory Shafford as Billy Lawlor. Tamsin Dowsett pitches just right the understated hamminess of Dorothy Brock, whose broken ankle fractures her career but heals her broken heart. Pulling the strings, though, is Alex Wadham’s commanding performance as the tough yet tender Julian Marsh. Still, the generosity of the leading players leaves the doors wide open for the minor characters to steal any scene they can. Charlie Burt is a ball of energy who lights up the stage, eclipsed only by the dynamic chorus trio of Helen Rose, Jessica Wright and Samantha Noël; their close-knit harmonies strikingly evocative of the period. An age brought even closer to us by Emily Bestow’s razzmatazz fashion parade of costume, and the array of well-known and well-loved showtunes, including ‘Lullaby of Broadway’, ‘We’re In The Money’, ‘Dames’, ‘I Only Have Eyes For You’ and the eponymous ‘42nd Street’.

A little slow off the starting line, we forget by the time we’ve reached the rousing and moving finale. And the show is only at the beginning of its run. Like Marsh says to the blossoming Peggy as she’s seconds out from her Broadway debut; “You’re going out a youngster, but you gotta come back a star”, this show will undoubtedly grow into a sure-fire hit.


Reviewed by Jonathan Evans

Photography by Darren Bell


42nd Street

Upstairs at the Gatehouse until 26th January


Last ten shows reviewed at this venue:
Nice Work if You Can Get It | ★★★★ | December 2018
Bad Girls The Musical | ★★★ | February 2019
Strike Up The Band | ★★★★ | March 2019
The Marvelous Wonderettes | ★★★★ | April 2019
Flat Out | ★★★★ | June 2019
Agent 14 | | August 2019
Pericles, Prince Of Tyre | ★★★ | August 2019
Working | ★★★★ | September 2019
A Modest Little Man | ★★★★ | October 2019
I Do! I Do! | ★★★½ | October 2019


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Side Show – 3.5 Stars


Side Show

CLF Art Cafe, Bussey Building

Reviewed – 3rd October 2018


“all credit must be given to Dom O’Hanlon and company for this spirited revival”


Written in 1997, and revived on Broadway in 2014, Sideshow is a relatively new musical. The score still feels fresh and demands attention, and the story’s overarching themes are both resonant and timely. The show tells the tale of the conjoined twins Daisy and Violet Hilton, real women who were born in Brighton and went on to become two of the most well-known and well-paid performers in America during the 20s and 30s. We follow their lives from their early sideshow days to the poignant moment in which they are poised to star in a Hollywood movie, and are asked to think about what it means to be different, and to reflect on the struggle for individual agency and fulfilment.

The show’s director, Dom O’Hanlon, writes that the company was ‘drawn to the Bussey Building and its alternative feel’, and it’s true that walking through the bunting-bedecked Bussey tunnel, and climbing the concrete stairs from the yard, festooned with fairy lights, couldn’t be a more perfect introduction to the sideshow spirit. Roberta Volpe’s evocative set and Adrian Jeakins’ atmospheric sound design continue the illusion; so much so that we really seem to be in the big top for the duration. Lemington Ridley’s superb costume design is also perfectly pitched throughout, and contributes enormously to our immersion in the Side Show world.

Come Look at the Freaks, the powerful opening number, sets the tone for much of the work to come. The orchestra is tight and punchy, and the ensemble singing is clear and full of theatrical energy. John Reddel’s able musical direction ensures that these qualities remain throughout, and the company work is always strong enough to loft the ball back into the air on the occasions when some of the individual performances are lacking. For the most part, Katie Beudert (Daisy) and Lauren Edwards (Violet) are terrific, and carry the story with great charisma. Beudert perfectly captures Daisy’s starry-eyed effervescence, and, in contrast, Edwards has a purity of vocal quality and control which illuminates Violet’s quieter personality. Matthew James Nicholas gives a stand-out performance as Terry Connor, and moves adroitly from boyish charm in the first Act to the passionate intensity of Private Conversation in the second. There is no doubt that he has a serious Musical Theatre career ahead. Alexander Bellinfantie (Jake) is in fine voice for The Devil You Know – Act 1’s showstopper – but, frustratingly, seems physically uncomfortable on stage throughout, and Barry O’ Reilly’s Buddy, although performed with a lot of gusto, never achieves true fullness of character. Special mention though should go to both Olga-Marie Pratt and Aloña Walsh for their truthful performances in the ensemble.

Side Show is an intriguing piece, and it is definitely refreshing to see a musical which challenges the centrality of the ubiquitous boy meets girl relationship. It is not without its flaws however; chief among them an emotionally and narratively unsatisfying ending. Pint of Wine’s production does justice to Bill Russell’s book and to the music of Henry Krieger, but it too is flawed. The choreography seems too pedestrian for the subject, and the production loses its sharpness during the dance numbers. In addition, the scene transitions involving the full company need tightening. That said, all credit must be given to Dom O’Hanlon and company for this spirited revival.


Reviewed by Rebecca Crankshaw

Photography by Michael Smith


Side Show

CLF Art Cafe until 13th October



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