This was a glorious triumph of a production and had the audience amazed and delighted from the opening Company tap number; which received fully-merited rapturous applause. With great strength in every department - acting, singing, dancing, Direction and Choreography, and with superb sets and costumes, lighting and Orchestra, it was of professional standard and delivered not only a story with the gritty edginess of the 1930s Depression era, but also a delightful comedy, a moving romance, and one spectacle after another.
Every number was very strong indeed, every performance was assured and engaging; this was a production without any weak links. It’s a challenge, for example, to have everyone in a UK cast deliver convincing American accents and this production achieved just that. The Principals were superb whether acting, singing or dancing and the supporting cast and Ensemble of dancers and chorus were amazing, offering up for the audience a multitude of ‘wow’ moments. Billy Lawlor (Matt Stockham) projected confidence and charm, with an excellent singing voice which was shown to great effect in Young and Healthy and Dames. Peggy Sawyer (Becky Bagnall) was perfect as the eager but naïve ingénue from Allentown who transforms into a self-assured star, with a great voice which impressed whether as solo in the song 42nd Street or in the lovely harmonies of About A Quarter To Nine. The slow, sultry dance with a sailor in the performance of the Pretty Lady show-within-a-show was very powerful.
Maggie Jones (Emma Wogan) was excellent, with great stage-presence, poise, energy and talent, as demonstrated in, for example, Go Into Your Dance. In that number the character was joined by some tap-dancing waiters from the Gypsy Café, the three ‘Chorus Girls’ Ann Reilly (Chloe-Louisa Hughes), Lorraine Flemming (Madeleine Pavey) and Phyllis Dale (Kayleigh Jones), and by Andy Lee (John Bishop), the Choreographer for the show Pretty Lady. It was one of the many highpoints of the show and exemplified the strength in depth of the cast; each one of these characters delivered great performances throughout the show. The tap dance by Ann, Lorraine and Phyllis on their way to the Café was a little gem, and they and Andy matched their dancing ability with great acting, whether straight or comic. Ann’s witty line about Billy, for example (‘he may be a tenor but he’s got base ideas’) was spot-on.
The comedy was a crucial part of the show and was handled expertly by both Director and cast. Bert Barry (Darren Ellery) gave a stunning performance and won the audience with his humour and humanity. Mac (Matthew Traher) was a very good Stage Manager of Pretty Lady, Pat Denning (Alastair Snell) skillfully gave a three-dimensional quality to the role of Dorothy Brock’s thwarted love interest, particularly in the I Know Now scene with raw emotions being expressed, and Abner Dillon shone in the comedy role of Dorothy’s financial back and would-be-lover.
The I Know Now scene in which the song is presented in three different styles (straight and emotional, then as drunken carousing at the bar, then Billy singing an over-the-top version with a backing from the Chorus) is a challenge to get right and hold the audience, and this production got it absolutely right.
Stand-out, tour-de-force performances were given by Julian Marsh (Jonathan Busk) and Dorothy Brock (Sally Wheeler). Both commanded the stage and combined totally convincing acting with first-class singing. Dorothy’s dancing and singing were moving as well as technically brilliant. Julian’s singing of Lullaby of Broadway was astounding and the actor really brought out the slightly pompous confidence and flair of the character. Julian’s powerful rendition of the reprise of 42nd Street was the perfect way to end the show, the culmination of a series of spectacular numbers with wonderful sets, lavish costumes and great choreography, including Dames, We’re In The Money, There’s A Sunny Side to Every Situation and Shuffle Off To Buffalo.
The fantastic sets added enormously to the atmosphere and ‘pazaz’ of the production. There were the detailed backdrops like The Regency Club, the New York skyline, the neon signs of Broadway’s theatreland, The Maison Des Dames, and Broad Street Station, and there were the cleverly-designed stage furniture like the train with its array of windows, the Art Deco bar in the Regency Club, and the double staircase for the Pretty Lady performance. The huge 42nd Street neon sign that was lowered at the end of the show was the cherry on the cake, as it were.
The vast array of splendid, sensational costumes were also a highlight of the production and the Lighting was thoughtfully designed and skilfully executed. The Shadow Waltz, for example, had two spotlights, set in place and held by actors, projecting the shadows onto the backdrop, with the chorus of dancers all in shadow and at Dorothy Brock at one point lit up in the centre with a single white spot. We’re In the Money was set very effectively in winter, with a brilliant white light effect, and for the Broadway theatreland a lovely night-time blue wash was provided.
Congratulations to the first-rate Stage Management (Duncan Hook & team) for seamless transitions and management of such a large cast; to the Director (Helen Barrington), Choreographer (Maria Jewiss) and Musical Director (Ian Peters) for their professional-standard and highly creative work; to the superb Orchestra and to the absolutely brilliant cast - Principals and Company Ensemble. This was a stunning show with both rousing spectacle and moving intimacy. I am conscious of an abundance of superlatives in this report but I do not feel a need to apologise for them; this was, quite frankly, the best amateur musical production I have ever seen.
Truly a spectacular night to remember! There rarely comes around a performance of a show so dazzling that when it does you can only tell people to go and see it for themselves – this is one of them and is as good as any West End performance and certainly for me topped last years’ professional star-studied 42nd Street UK tour, and if the opening night standing ovation and feverish chatter from the almost full house afterwards was anything to go by, I certainly am not alone in my view.
This is the first time I have watched BBLOC, despite their brilliant reputation in local circles preceding them and I’m sorry for not seeing them sooner. The entire Company do themselves proud for their 70th year and this, their 74th production, based on the book of the same name, by Michael Stewart and Mark Bramble, originally published in 1933.
Every box is ticked for this incredible show, right down to the decadent art deco Bournemouth Pavilion Theatre, opened in 1929; it echoes and transports us perfectly to 1933 New York City where Julian Marsh (Jonathan Busk) is auditioning for his latest Broadway show – ‘Pretty Lady’ – during the Great Depression. ‘Pretty Lady’ stars Dorothy Brock (Sally Wheeler) who after an injury leaves a role that needs filling, and who better than Peggy Sawyer (Becky Bagnall), the girl with big dreams from Allentown, Pennsylvania. The set is as bold and confident as the cast and the perfect lighting adds to the atmosphere throughout this light-hearted comedy, song and tap dance spectacular.
Becky Bagnall is delightful as Peggy, she truly has it all, allows the audience to feel such warmth from her character throughout and takes us on her character’s journey impeccably. I like her quiet strength in the relationship between her character and the Director Julian Marsh, a role Jonathan Busk was made for and his strong vocals are spine-tingling. Sally Wheeler performs Dorothy Brock with the professionalism of a seasoned gem, a completely safe pair of hands. Her toy-boy Pat Denning, played by Alastair Snell, explores his evidently strong acting skills. Emma Wogan is beautifully sassy as Maggie Jones, with powerful vocals and great stage presence, and Matt Stockham, as Billy Lawler, demonstrates wonderful tap dancing, a strong voice and good acting skills.
I made notes each time there was a number and I felt this was the stand-out number but in the end, I realised they were all stand out and I truly take my hat off to every single member of BBLOC involved in this memorable production.
BBLOC’s performance is perfectly directed by Helen Barrington. Her top-level professional theatre experience shines through in spades. I particularly appreciated how positive this interpretation of 42nd Street is, minimising the focus on the misogyny and hard times of the original, without losing any of its messages. Aptly supported by the marvellous choreography of highly trained Maria Jewiss ensures that the action is captivating, the tap-dancing throughout is beautiful and energy levels maintain sustainably high in this fast-paced epic. Mention must also be given to the talented Ian Peters as Musical Director and the orchestra who are as professional as it gets, and the previous West End career of Production Stage Manager Duncan Hook is evident throughout.
The costumes are wonderful displays of colour and, along with excellent make-up and hair, the performance is a visual delight. There are show-stopping ensemble production numbers and fantastic principal, dance and ensemble performances. It is hard to mention everyone when there were only strong performances throughout but additional stand out performances for me are Chloe-Louisa Hughes, as Ann Reilly, who has strong stage presence and John Bishop, as Andy Lee, provides us with note-worthy beautiful tap dancing.
I am now decidedly a fan of BBLOC.
Jill Richmond 
Last night Jonathan and I were fortunate to be invited along to The Pavilion to see 42nd Street, performed by BBLOC, Bournemouth’s biggest amateur theatre company. I had never actually seen the show before so was able to go in with fresh eyes, not knowing what would happen in the storyline. The evening was really enjoyable (if a little hot in the first half due to the current heatwave, which did make me relived when the curtain came down for the interval if I am being honest).
The cast were amazing, really impressive singing, dancing and general showmanship. If I hadn’t of known it was a community theatre production, I would never have guessed, the talent was incredible. I was blown away by the choreography, with multiple tap numbers and lots of fast steps to have learnt. Everybody on stage had incredible presence and I was caught up in the story of a young girl making her name and experiencing her big break.
The costumes, lighting and props were all brilliant at bringing the story to life and showcasing the glitz and glamour of the era. We very recently lost my nan, who would have loved the show, so it was a little bittersweet for my mum and I as we listened to all of the showtunes, tapping our toes along and thinking how much she would have enjoyed it. It was lovely that the show was supporting the Macmillan Caring Locally charity, as they were who looked after my nan during the last few weeks of her life, such a worthwhile charity to support.
I was a little confused by a couple of the scenes in the show, as they seemed a little random, but that is down to storyline and the fairy tale theme I believe rather than performance by the cast. As I say, I didn’t know the show beforehand but I did recognise one of the songs, ‘We’re in the Money’ and came away with a few new favourites too!
Overall my mum and I loved it and would definitely recommend 42nd Street if you are a fan of the show or looking for something upbeat and fun to watch at the the theatre. It continues to run until tomorrow evening (3rd August) and tickets, affordably priced from £21.50, can be purchased at the box office or online via the BBLOC website.
We were also treated to some food and drink at Elevate, situated across the gardens at the BIC before the show, which was really nice with the perfect view across to the pier and Bournemouth Eye. Jonathan and I shared a pizza which was delicious and we also had some small plates. Elevate is perfectly positioned for those wanting to grab a bite to eat or a pre-show drink, just five minutes walk from the Pavilion.
I was invited along to a performance of 42nd street at The Pavilion in exchange for this honest review, all words are my own. Images from the show kindly provided by BBLOC. I was also invited for food and drink at Elevate.
Emma-Louise 
Come along and listen to, the wonderful performances of Bournemouth and Boscombe's Light Opera Company (BBLOC)'s latest show, 42nd Street. It's not an easy feat to take on a mammoth show such as 42nd Street. With dancing, singing, huge characters, and did I mention the constant dancing? It's a show that is fast paced, full of bright lights, catchy songs, and fantastic costumes. But by George did this company bring the house down and create a show that rivalled the latest west end version!
42nd Street follows the story of a new show opening in America. As the show opens you are taken from auditions through to opening night whilst you follow the story of our young, fresh faced newcomer Peggy Sawyer. As Peggy tries to navigate her way around this cut-throat world of showbiz, she is introduced to helpful chorus girls, suave tenors, dismissive directors, and a veteran leading lady who frankly is passing her sell-by date. Throughout the show you see how difficult it can be to break it into the industry, whilst being given iconic songs such as "We're in the Money" and "Lullaby of Broadway". With huge costumes, and even bigger set pieces, this show is a show stopper!
Most will know that I am a huge advocate of local theatre. It's honestly where some of the best talent is. Full of unsung heroes that spend their day in normal jobs, whilst moonlighting on the stage as a huge star. We all wish we can have the opportunity to break into the industry in the way that our show's main character Peggy Sawyer does, but that doesn't always happen, however companies like BBLOC allow our local stars to shine on stage and give audiences the opportunity to see some incredible talent.
Peggy Sawyer is played by Becky Bagnall who plays the fresh faced chorus girl in such a sweet way that you can't help but root for her and be blown away by her tap dancing! Director Julian Marsh is played by Jonathan Busk, who's rendition of Lullaby of Broadway was absolutely incredible. Sally Wheeler takes to the role of established performer Dorothy Brock with ease, giving attitude, sass, and demands on stage as if she had been doing this her whole life. I also adored Chloe-Louisa Hughes, who played the caring Ann, taking Sawyer under her wing and ensuring that she could shine like a star. The comedic factor comes from the hilarious duo of Emma Wogan and Darren Ellery as writers Maggie and Bert. Their cynicism, dry humour, and comedic moments really brought the light to the show.
It must be incredibly difficult to put on a show that is incredibly dance demanding. Especially tap dancing, which requires a level of skill and training that most don't keep up with, however BBLOC smashed it by gathering a huge ensemble of dancers that wowed the audience with synchronicity, stamina, and professionalism that the west end could only dream of. I loved how each step was as clear as the singing on stage and was blown away by the sheer level on talent on show. One stand out moment for me was not only the title track of the show, but also "There's a Sunny Side to Every Situation" where the cast appeared to be singing into their mirrors and wishing their fate could change. It was an incredible piece of staging that was so effective to the storytelling.
Director Helen Barrington has seemingly done it again. She has brought together some of the best local talent to create a show that rivals that of the west end and national professional companies. She has managed to create a show using the best stars in the local area, whilst being able to entertain audiences show after show. Every member of the cast, and backstage crew should be incredibly proud of the show they put on. Move over Peggy Sawyer, we have some new stars in town!
With the next show being Charlie and the Chocolate Factory, I can't wait for what's in store.
Laura 
