As the curtain lifts on Musical Theatre West’s production of “42nd Street,” audiences are greeted by the clicking euphony of tap dancing feet, inviting them into the dazzling world of Broadway.
This moment serves as the viewers’ initiation into the fictional 42nd Street Theater, where they have a front-row seat to the making of the musical “Pretty Lady;” from casting calls to opening night and all the drama in between.
Expertly directed by Cynthia Ferrer and choreographed by Cheryl Baxter, this stunning display of in-sync performance sets the tone for the musical’s vision of show business; one where performing on the Broadway stage can provide a path to success and a haven of artistic hope.
“42nd Street” is Musical Theatre West’s first show of its 72nd season, and this production marks the third time the theater collective has performed this musical.
The production finds its setting in 1933 New York, with America still reeling from the Wall Street Crash of 1929. From the onset, it’s clear that money is scarce and opportunity hard to come by for these performers, but there are still the neon signs of Broadway leading the way.
There are three central characters: Peggy Sawyer (Emma Nossal), an immensely talented chorus girl who just arrived in the Big Apple from Allentown, Pennsylvania; Dorothy Brock (April Nixon), the acclaimed but egotistical star of “Pretty Lady” whose “sugar daddy” is the show’s financier; and Julian Marsh (Robert Mammana), the musical’s legendary director who is desperate for a hit.
Nossal returns to the role of Peggy Sawyer and perfectly embodies the innocence of someone whose kindness and incredible skillset endear her to the cast and crew of “Pretty Lady.” She brings an abundance of charm and clumsy personality that makes her character’s desire to make a positive impression feel authentic.
“42nd Street” Associate Producer Bren Thor said the role of Peggy Sawyer was one of the hardest roles MTW ever had to cast, as it calls for a young performer who is a great singer and actress, and the best tap dancer “of the bunch.”
“To be able to find someone who reads in their early 20s who has the skill set to carry a show like this is incredibly difficult. It took us a couple of months to be able to find Emma,” Thor told the Signal Tribune in a previous interview.
The ensemble cast also features Billy Lawler (Quintan Craig), the youthful star tenor of “Pretty Lady,” Maggie Jones (Bree Murphy), co-writer and producer of “Pretty Lady” and mentor to Sawyer, and Abner Dillon (Kevin Carolan), Brock’s kiddie car-maker “sugar daddy.” These colorful supporting characters add a layer of humor and detail by epitomizing the many personalities behind the scenes of a theater production.
Each member of the “42nd Street” cast gets the chance to shine, whether it’s Craig’s high-octave singing, Nossal’s standout tap dancing or Murphy’s impeccable comedic timing, resulting in a three-headed monster of on-stage talent.
Making up the heart of “Pretty Lady” are the cast of young performers on the chorus line (made up of professional dancers and student ensemble performers from the Orange County School of the Arts) — hopeful talents summoned to the theater with the allure of Broadway glory and $32 a week. These underdogs earnestly believe that if one of them can break through to stardom, a path for the rest of the cast awaits on the other side.
Each member of the “42nd Street” cast gets the chance to shine, whether it’s Craig’s high-octave singing, Nossal’s standout tap dancing or Murphy’s impeccable comedic timing, resulting in a three-headed monster of on-stage talent.
“You need triple threats with a show like this, people who can really sing, people who can really dance and people who can really act and it is a rare thing to be able to find and thankfully they really came out in numbers,” Thor said. “We had one of the best audition processes we’ve had in a long time.”
Throughout the five-week production of “Pretty Lady,” there are a handful of humorous and disastrous conflicts. Brock hides her romantic relationship with Pat Denning (Stephen Bishop) from Dillon so he doesn’t pull the show’s funding, Marsh and the producers struggle under the weight of Brock and Dillon’s script-changing demands, and Sawyer tries hard to make her mark in the show which puts her at odds with Brock.
Nixon’s portrayal of Brock exudes the confidence of a bonafide star with every step, line read and spiteful look, marking her as someone who won’t be crossed without severe consequences.
This comes to a head, of course, as Sawyer gets fired for accidentally injuring Brock during an out-of-town preview. This rapidly sets up the major dilemma of Act 2: can the show go on? My lips are sealed.
“42nd Street” plays out its drama with great levity, with brief fourth wall breaks and plenty of musical humor for theater fanatics and Broadway newbies alike. Baxter’s choreography keeps the audiences and the cast of dancers firmly on their toes, with impressive numbers and rapid movements.
The musical boasts an endlessly appealing soundtrack of songs that gives the whole ensemble a chance to shine. This includes the irresistible “Lullaby of Broadway” — where the cast serenades Sawyer with pleas to rejoin the show — and “We’re In the Money” — a stunning visual display that sees the cast dance on top of large coins in shimmering silver and green outfits.
With plenty of memorable moments to indulge in and tunes to get stuck in your head, “42nd Street” showcases a clear message from start to finish: for a musical to be successful you need strength in numbers.
“42nd Street” will run through Feb. 25 at the Carpenter Performing Arts Center, located on the Cal State Long Beach campus at 6200 E. Atherton St. Tickets for “42nd Street” can be purchased on Musical Theatre West’s website ranging from $23 to $114.
MTW’s 72nd season will continue with productions of “Million Dollar Quartet,” “Newsies” and “Ain’t Misbehavin’” to close out the year.