It's so lovely for once to see a musical that is all about the spectacle: the razzle-dazzle, the sequins and, above all, the dancing.
Other big traditional Broadway shows - like Chicago, Cabaret, Guys and Dolls - have complete plot lines and character development and singing harmonies. But 42nd
Street doesn't waste time on optional extras like that.
From the time the curtain rises it's a moving visual feast. Some of the moves are simple, but multiply them by 30-plus weaving "hoofers" who fill the stage and the effect is spectacular.
Four choreographers are credited: Randi Skinner and Kelli Barclay from Broadway, and Justine Dekock and Val Hemphill for this Auckland Music Theatre production. The tap dancing - so rare - is particularly good.
Setting off the visual fireworks, Broadway's impressive Art Deco set is more 3-dimensional than the characters, and the costumes - and costume changes - are breathtaking.
High-waisted 1930s rehearsal shorts, gauzy pastel street dresses, We're in the Money gold sequin bikinis and glittering evening gowns are just the top of a huge wardrobe heap for all the girls with the platinum curls.
A show-within-the-show, "Pretty Lady", is an excuse to go over the top - grotesque, man-hiding, dancing orchids make a brief appearance.
Fittingly, the chorus line members, many tender-aged, are dancers who sing, rather than singers who dance, while the principals are mostly much older (at 17, Laura O'Sullivan as lead Peggy Sawyer is a notable exception). Sarah Kent as mischievous Anytime Annie is the vibrant standout. Musical director Penny Dodd's 16-piece big band is great.
The ending is somewhat abrupt: all the huff goes out of any potential drama as nobody can stay mean for very long; the "Pretty Lady" big numbers are deliberately divorced from any character's (admittedly shallow) emotional reality; and strangely for a musical comedy, love is hinted at for the leading lady, but never requited.
Fun, frothy and frivolous.
What: 42nd Street.
Where: Civic Theatre, The Edge.
When: Until October 23.
