42nd Street – The Grand Theatre, Blackpool

I have to start this review with a confession. I have a very serious addiction. I am, unfortunately, addicted to tap dancing—as a consumer rather than a participant, I hasten to add. My social media algorithms know this about me and, as part of our complex web of co-dependency, the apps ply me with endless reels of routines. It is through this rather sordid route that I became familiar with this musical and, until tonight, I had never actually seen the whole show—due in no small part to the fact that it is performed scandalously infrequently.

If you’re a fan of pub quiz trivia, it might interest you to know that the show isn’t as old as you might expect. It was adapted in 1980 from the 1933 Warner Bros. film of the same name and went on to win Tony Awards for Best Musical and Best Choreography. The show is a backstage tale following the fortunes of small-town girl Peggy Sawyer (Erin James), a young dancer newly arrived in New York to audition for the latest Broadway show, Pretty Lady. Peggy secures a place in the chorus of the demanding production, led by the exacting director Julian Marsh (Robert Wilkinson). However, when the show’s temperamental star, Dorothy Brock (Cinzia Goldie), takes a spill during the Pennsylvania try-outs, Peggy finds herself with a chance to shine.

At the helm, veteran director Steve Chesters led this large cast with great assurance. Scenes were well paced, and transitions were smooth and effective, allowing the action to crack along. I would have liked to see a little greater character definition and more clearly punctuated storytelling to strengthen the emotional connection with the onstage action, but the production’s energy and momentum ensured it remained an engaging and enjoyable watch.

The music, under the baton of Dave Bintley, was excellent from the very first note. The nine-piece orchestra produced a rich, full sound that could easily have been mistaken for one twice its size. In such a dance-heavy show, the cast relies heavily on the man waving the stick, and here they never missed a beat. The large ensemble also delivered a bright, confident sound, thanks in no small part to chorus master Kevin Matthews.

However, 42nd Street is, at heart, a choreographer’s show, and Sarah Cosgrove did herself proud—particularly in the full-company tap routines, which were exceptionally well drilled. The sheer creativity and scale of the choreography were impressive, but it was the finesse of the detail that truly made it shine. Clean lines, heads held high, and beaming smiles made for a polished and confident ensemble—no nervous foot-watching here. For me, “Go into Your Dance” was a particular highlight.

There were a few minor technical gremlins, as might be expected on an opening night, but nothing to detract from the overall enjoyment, and nothing that another look at the cues won’t easily resolve. The large set was deftly handled by Company Stage Manager Richard Harrison and his team, with exposed scene changes smoothly integrated thanks to the crew’s well-considered costuming—a nice touch that helped maintain the flow. My main technical quibble was that not all performers with lines were fitted with head mics, which proved somewhat distracting. If possible, this would be worth revisiting for the remainder of the run; failing that, a touch more projection would ensure every line lands clearly—even in the cheap seats.

Lastly, but by no means least, to the performers. With such a large cast, it would be folly to attempt to single everyone out, but a talented group of core players took centre stage. Leading the company, Robert Wilkinson as Julian Marsh gave a self-assured performance that anchored the show, charting the character’s journey from abrasive perfectionist to determined mentor. Cinzia Goldie was suitably spiky as the prima donna Dorothy Brock, with beautifully controlled vocals. Erin James brought charm and grace to Peggy Sawyer, her exceptional dancing and strong vocals securing her ‘triple threat’ status. Equally engaging, Jack Price as juvenile lead Billy Lawlor added a cheeky twinkle to the role. Andi Lees-Lester and Alex Latimer, as Bert and Maggie, provided able support and welcome vaudevillian levity, while Jess Banks impressed with an effervescent turn as Anytime Annie.

Ultimately, the show’s greatest strength lies in its ensemble and the coming together of the company as a whole. With around 45 performers on stage and a relentless run of back-to-back production numbers, this is theatre as teamwork at its most dynamic. The result is a vibrant, crowd-pleasing spectacle that makes for a thoroughly memorable night on the avenue.

42nd Street runs until Saturday 4th April 2026 at The Grand Theatre, Blackpool (7.30pm nightly, with matinees at 2.00pm on Friday and Saturday). Tickets are available via 42nd Street – Blackpool Grand Theatre

Reviewer: Dan Grimes 

Reviewed: 1^st April 2026

North West End UK Rating: