For those who are not as familiar with this wonderful show, here’s what you need to know. Julian Marsh is doing a show. A show that has talented dancers and performers across New York City rushing and gushing to be a part of it, just from the shining, heavy presence of his name. A show called ‘Pretty Lady’. For one week only, at the New Victoria Theatre in Woking, 42nd Street follows the creative construction of this show, from initial castings to opening night, and all the passion, nerves, drama and joy that comes with it.

Every moment of the show is filled with meaningful, unquestionable choices to create a viewing experience that can only be described as simultaneously knowing what is happening in front of you is exactly as it should be, and questioning why you have never seen it done this way before. There is no doubt of the storytelling capabilities of this creative team.

An inspired introduction, accompanied by a beautifully dynamic orchestra, sets the cast and crowd alike gently down into the context and culture of dance surrounding the production and is only built upon throughout with clever use of stripped-down set design, offering a consistent and reliable mood of creativity, and theatre magic with interesting opportunities for shifting perspective in the storyline that we are now all fully a part of, and kept so comfortably by the subtle nods to our experience as theatregoers.

This production takes the show within a show structure to a whole new level we’ve never seen before, as art and reality blend softly before our eyes, creating a whole new world, for those two acts, where what is under the stage lights brings certain facts of life to light, namely the strength, importance and talent of the ensemble in a show and all the ways that truth manifests.

The cast bring to life touching connections between their characters, showcasing a refreshing and much appreciated demonstration of a supportive performance industry and the basis of happiness which uplifts the best points of the show. There are, of course, starring roles but largely the cast of 42nd Street is a pleasing level playing field. Their rich full classic-theatre-vocals, finely tuned instruments in themselves, are each heard crisp, melodic and clear through the air with equal amazement and their respective opportunities for comedic timing, physicality and articulation all land beautifully, with equal flourish, never losing their grasp on their characters.

We see dancing and music working together, building each other up. The cast of dancers showcased in this production are exceptional. The way they hold themselves, the sparkle in the eyes of the ladies, the suave smiles on the faces of the gentlemen, every step so fluid, graceful and full of feeling.

The magic comes when everyone is on stage, impeccable harmonies, rhythm and timing melding and flowing together. An atmosphere of joy and togetherness and choreography of simple, elegant touches building a theatrical presence beyond anything you have ever seen. Those beautiful moments where everything comes together are plentiful in this show and if you have been previously unaware of the fighting power of tap-dance musicals, let this be the white rabbit that leads you down the rabbit hole.

Choreographed and designed by Olivier Award winners Bill Deamer and Rob Jones, this staging demonstrates amazing use of space from the start. Whether the scene calls for a full stage or empty space to zero in on a focused corner, the effect is beautiful. Not to mention, use of lighting, designed by Ben Cracknell, is stunningly picturesque, producing the kind of stimulating visuals that rival paintings, genuine art in real life.

The show feels so real from scene to scene, made so by a cast that works fluidly with each other, showing confidence in their own performance and not relying on overplayed etiquette like never turning your back to the audience like we’re outsiders in The Lion King. No, this is new and fresh and moving and alive with a narrative that works almost cinematically with fluid transitions.

Have you ever felt proud of the audience you are sat in? That was the experience. The joy of looking around at the seats that surround you and seeing clapping hands and smiling faces, feeling everyone rise from their seats – not once but twice! Faint hums of laughter turning to synchronised eruptions, applause rising to a pinnacle to then fall just in time for the next line to be heard, chills running over your body.

Nicole-Lily Baisden absolutely shines as the loveable Peggy Sawyer, an anxious but ambitious ball of energy who comes tumbling into auditions in a moment of belated bravery, with an adorably innocent warmth and, above all, a natural gift for performing. It is nearly impossible to take your eyes off Baisden. On a stage full of talented performers, her facial expressions exude passion and confidence, as if to say ‘look at me’, ‘you’re welcome’, with dance technique and a voice that back her point.

Sam Lips gives us unbelievable vocals as Billy Lawlor, leading man in the ‘Pretty Lady’ cast. The first singing voice we hear, he sets an amazing tone for the rest of the show and remains a front-runner throughout. He exudes the energy of the leading man, demonstrating wonderful control and impressive appreciation for subtlety in his movements.

As has become a trademark in her theatre roles, Faye Tozer exhibits incredible voice work and outstanding character in her portrayal of ‘Pretty Lady’ writer, Maggie Jones, with a beautiful, sweet, motherly aura around her interactions with other cast members. The tremendously talented Michael Praed astounds as Julian Marsh with epic solo vocals and powerful presence amongst drips of tenderness and the welcome moments of comedy on his journey there.

Any Bestie, no matter how long you have been with us, will probably know the feeling when a supporting character steals your glance with their performance, character and general star quality. In this case, that was Sarah-Marie Maxwell, her energy, incredible voice and performance brightening scenes with ease.

Losing some minor points for some underwhelming or slightly misunderstood performance choices, the production comes across a love letter to classic old-school musical theatre. As soon as those curtains open, you can’t help but smile for that romanticised feeling that musicals never fail to give us. Instant chemistry that makes us fully believe that two people can fall in love in a day, searching in every moment they share the stage for any hint of a romantic glances, touches or gestures. Watching costumes sparkle, shimmer and dazzle under the stage lights. The sound of perfect synchronised steps hitting the ear almost like another instrument in the orchestra, eyes scanning their feet to see if this could really be happening. Extended demonstrations of dance as a storytelling tool. The brilliance and effect of realistic simplicity, and everything the perfect level, not for a moment overwhelming.

An aesthetic, endearing spectacular.

**** Four stars

Reviewed by: Louisa Clarke

42nd Street plays at the New Victoria Theatre Woking until 23 September before continuing its tour. To book tickets for select touring venues, please click here.