Having been in the show twice, it was extremely nostalgic to recall the witty lines, beautiful score and intricate dance routines that feature in and enhance such as show as 42nd Street and tonight, other than the ‘usual’ (but should not happen and inexcusable) sound problems from the sound team, TEMPO (The Edge Musical Performing Organisation)’s presentation at the Evans Theatre, within Wilmslow Leisure Centre, was a great production to have chosen to bring back those happy memories.
With music by Harry Warren brought to life by John Barry’s band of 14 musicians and lyrics by Al Dubin, Michael Stewart and Mark Bramble’s story is complex but humorous and follows the cast and production team of a Broadway musical called Pretty Lady. Whilst there is always confusion between which songs and scenes feature in the show that the show is about or just performed in the goings on of ‘normal’ life in musical theatre, where people obviously randomly just burst into song at the mere mention of a word or phrase, there is a flow and some brilliant characterisation from this relatively young but outstandingly talented cast. Of note is Charlie Dewhurst’s ever mature portrayal of director of Pretty Lady, Julian Marsh, who is by far (unless I am mistaken) on stage for the majority of the show and in turn had the most lines. This is therefore testament to Dewhurst’s stamina and dedication to the art, delivering every line in character and without hesitation or stumble. Well done.
Another mentionable stand-out comes from Poppy Lloyd’s Anytime Annie who leads some of the scenes and is instrumental in making sure that Pretty Lady goes ahead with a star in the form of Peggy Sawyer - played by Charlotte Kraunsoe - who goes from shy chorus girl to strong leading lady, albeit with a few sessions of pressure (the character). The scene in which she is convinced by Marsh to return to save the show is a musical number called ‘Lullaby Of Broadway’ and this is THE showstopper which has the audience eating out of the palm of Director Vicki Clarkson’s hand, if they weren’t already with the great acting that comes either side of it. The energy and spectacle of the tap dancing (choreographed by Benjamin Carter), with the whole cast of 43 on stage(!). It is a triumph. Mia Connor plays prima donna leading lady, who is replaced after breaking her ankle, Dorothy Brock with great power and an incredible voice to match and I hope she does - as stated in the programme - pursue musical theatre as her vocation.
The other great talents (as well as the whole cast) include Jacob ‘Jake’ Beresford’s “Juvenile Lead”, Billy Lawlor who has great confidence and executes the portrayal very well, David Cook’s overly dancy Dance Director Andy Lee who takes a shine for newcomer Sawyer. To think that some of these individuals had never done tap before the auditions or even rehearsals is inconceivable and unbelieveable when you see the standard of the numbers and sequences. Anna Steele and Sam Jones, as Pretty Lady writers Maggie Jones and Bert Barry, were also great, as were Lilly Hill as Mac the Stage Manager, Sarah Callow (Lorraine), Caitlin Medcalf (Ethel), Eve Butler-Smith (Diane), Poppy Preston (Doris), Maddie Roberts (Phyllis), Megan Gallagher (Betty), Erin Antrobus (Marilyn) and Emelia Mason (Gladys) as the named dancers and fellow Chorines. One iconic moment is the lead into ‘We’re In The Money’ where they find “a dime” in a subway grate/grid, but although full of green and sequins and big coins, it wasn’t as spectacular as the pro’s (costume and set) but the dancing made up for it, the same for ‘Dames’. I must commend Barbara Herd, Alison Bisset and Julie Loannides for designing and making the great costumes.
Whilst some of the script didn’t have the full effect due to the nature of the casting, the show had all of the usual authentic and iconic components of the professional version and, well-lit with a nice set, the opening tap routine had great impact, as did many of the other numbers, brought to life through the dancing. It is clear, as well as from looking at the programme, that the cast have been involved with theatre in some way and even if not, this justifies the importance of local and amateur theatre and the great social and educational elements of the many theatre companies around.
If you have a free night this week, I urge you to make the trip to Wilmslow to see this show and support this group. You won’t be disappointed and you may even be convinced to book for their next production of Guys and Dolls next year.
Reviewer - John Kristof
on - 6/3/19
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