Step into the dazzling world of Broadway with “42nd Street,” a timeless musical that captures the grit, glamour, and exhilarating ambition of show business during the Great Depression. This iconic show, a quintessential backstage musical, tells the story of Peggy Sawyer, a talented young dancer fresh off the bus from Allentown, Pennsylvania, who dreams of making it big on the Great White Way.
The story unfolds in 1933 New York City, where the renowned director Julian Marsh is pulling together a spectacular new musical revue, “Pretty Lady.” The opening scene bursts with energy as Andy Lee, the dance director, puts aspiring chorus hopefuls through their paces in a demanding audition (“Audition”). Bert and Maggie, the witty writers behind “Pretty Lady,” observe the talent, reminding everyone that audiences paying good money expect a dazzling spectacle. Amidst the throng of dancers, Peggy Sawyer arrives, flustered and late, missing her chance to audition. Kind-hearted Billy Lawlor, the show’s charming leading man, notices Peggy’s distress and helps her get a moment with the formidable Julian Marsh (“Young and Healthy”). Marsh, a man known for his iron will and demanding nature, is initially dismissive of Peggy’s tardiness. Peggy, overwhelmed, quickly exits, leaving Julian to grapple with his concerns about the show, particularly the star, Dorothy Brock.
Dorothy Brock is a seasoned Broadway diva whose star is waning. Her last major hit was a decade ago, but she holds onto her leading lady status thanks to her wealthy benefactor, Abner Dillon, who is financing “Pretty Lady.” When Dorothy and Abner arrive, Julian, ever the shrewd director, suggests Dorothy perform for them. Abner, in a display of his patronizing control, insists Dorothy needn’t audition for anyone, but Dorothy, perhaps to prove a point or simply because she loves to perform, sings nonetheless (“Shadow Waltz”).
In a classic meet-cute moment, Peggy realizes she has left her purse behind and returns to the stage, crossing paths with Maggie. Maggie, sensing Peggy’s vulnerability and talent, invites her to lunch with some of the other chorus girls. At the lively Gypsy Tea Kettle, Peggy’s wide-eyed innocence is met with the seasoned cynicism and camaraderie of the Broadway chorus line. The girls, including the vivacious Anytime Annie, playfully enlighten Peggy to the realities of show business (“Go into Your Dance”). This lunch break transforms into an impromptu audition as Peggy’s raw talent shines through, captivating Julian. He recognizes her potential and offers her a coveted spot in the chorus line of “Pretty Lady.”
Rehearsals intensify, and the chemistry between Dorothy and Billy is put to the test during their love scene. Abner, ever the jealous sugar daddy, vehemently objects to any on-stage kissing, stipulating a handshake instead (“You’re Getting to be a Habit With Me”). The pressure of it all becomes too much for Peggy; the whirlwind day, the excitement, and the demanding rehearsals cause her to faint on stage. She is carried to Dorothy’s dressing room, where another complication arises: Pat Denning, Dorothy’s true love and former vaudeville partner, is waiting for her. Dorothy enters, misinterprets the scene, and jumps to the conclusion that Pat is being unfaithful. Julian, ever the pragmatist, sees Pat as a potential threat to the show’s financial backing and advises him to leave town, further isolating Dorothy.
The company packs their bags and heads to Philadelphia for crucial preview performances (“Getting Out of Town”). The pressure mounts as dress rehearsals begin (“Dames”), showcasing the spectacular scale and energy of the production. After a grueling rehearsal, Peggy, still brimming with youthful enthusiasm, impulsively invites the demanding Julian to an informal cast party. Intrigued by Peggy’s genuine charm and perhaps sensing a kindred spirit, Julian surprisingly accepts. Meanwhile, Dorothy, missing Pat and feeling the strain of her complicated situation, indulges in a bit too much to drink. In a moment of defiance, she tells Abner to take his money and leave, threatening the entire production. Abner, initially angered, is persuaded by the chorus kids, who passionately plead for the show’s survival, highlighting their dedication and dreams. “Pretty Lady” premieres in Philadelphia with a dazzling opening number, “We’re In the Money,” a vibrant spectacle of tap dance and showmanship. However, disaster strikes during the Act I finale. As Dorothy makes her grand entrance, an accidental collision with Peggy results in Dorothy falling and severely injuring her leg. Julian, in a fit of rage and despair, fires Peggy on the spot and abruptly cancels the rest of the performance, seemingly ending “Pretty Lady” before it even has a chance.
Act II opens with grim news: the doctor confirms Dorothy’s ankle is broken, effectively sidelining her from the show indefinitely. Julian, despondent, declares “Pretty Lady” closed, ready to abandon his dream. But the chorus, a tight-knit family of dreamers, refuses to let their hard work and aspirations crumble (“Sunny Side to Every Situation”). They rally together, convinced that Peggy is the only one who can save the show. Julian, initially resistant, finally relents, recognizing the truth in their passionate pleas and Peggy’s undeniable talent. The only problem? Peggy, devastated by being fired, has already left for the train station, ready to return home in defeat. Julian, realizing the stakes, races after her. In a dramatic plea, invoking the very essence of musical comedy and its power to uplift and inspire (“Lullaby of Broadway”), Julian convinces Peggy to return. He lays out the daunting challenge: she has a mere 36 hours to learn 25 pages of script, 6 songs, and 10 intricate dance numbers. Julian’s stark ultimatum hangs in the air: by the next evening, he will have “either a live leading lady or a dead chorus girl!”
Against all odds, fueled by determination and the unwavering support of the company, Peggy rises to the challenge. The pressure is immense, the rehearsals are grueling, but the collective belief in the show and in Peggy’s potential drives them forward. The climax arrives as the curtain rises on opening night of “Pretty Lady” on Broadway (“Shuffle Off to Buffalo”). The performance is a resounding triumph. Peggy Sawyer, the unknown dancer from Allentown, becomes an overnight sensation, captivating audiences with her talent and charm. The show is a smash hit, and “42nd Street” culminates in a grand finale, “Forty-Second Street,” a jubilant celebration of Broadway, dreams realized, and the magic of musical theatre. Julian Marsh, witnessing the spectacular success, leads the entire company in acknowledging the hard work, dedication, and sheer talent that made it all possible, solidifying “42nd Street” as a testament to the enduring allure of the Broadway dream.
(PRINCIPALS)
Dorothy Brock: (Range: Eb3-B4) – An established Broadway star, clinging to fame and entangled in complicated relationships.
Peggy Sawyer: (Range: Eb3-E5) – Young, incredibly talented, and relentlessly hopeful newcomer with a bright future ahead.
Maggie Jones: (Range: Ab3-Bb4) – Witty and resourceful co-author of “Pretty Lady,” providing comedic relief and backstage wisdom.
Ann Reilly “Anytime Annie”: (Range: Ab3-Bb4) – A seasoned chorus girl and understudy in “Pretty Lady,” always ready to step into the spotlight.
Julian Marsh: (Range: D3-Ab4) – A demanding but brilliant Broadway director/producer, driven by success and haunted by past failures.
Billy Lawlor: (Range: C#3-A4) – Charming and energetic juvenile lead of “Pretty Lady,” with a natural stage presence and romantic appeal.
Bert Barry: (Range: C3-D4) – The comedic and pragmatic co-author of “Pretty Lady,” often paired with Maggie for witty banter.
(FEATURED ROLES – from Chorus)
Phyllis Dale, Lorraine Flemming, Gladys: Distinct chorus girls, each adding personality and talent to the ensemble.
Andy Lee: (Range: D3-Db4) – The energetic and demanding dance director, responsible for the show’s spectacular choreography.
Pat Denning: (Range: D3-Eb4) – Dorothy’s former vaudeville partner and true love, caught in a complicated romantic triangle.
Abner Dillon: (Range: Gb3-D4) – Dorothy’s wealthy and possessive “sugar daddy” and the financial backer of “Pretty Lady.”
(SUPPORTING ROLES)
Including Diane Lorimer, Ethel, Oscar, Mac, Frankie, Young Man with Clipboard, 2 Thugs, Doctor, Waiter, Millie, Willard, Robin, 2 Policemen, Pickpocket/Thief, Young Soldier, Gangster, Conductor. These roles, while smaller, contribute to the rich tapestry of the Broadway world depicted in “42nd Street,” showcasing the diverse personalities and professions that bring a show to life.
(ENSEMBLE)
Various Kids’ Voices, Theatre Personnel, Singers and Dancers of the Chorus. The ensemble is the heart and soul of “42nd Street,” representing the collective dreams and aspirations of those striving for Broadway success.
“42nd Street” remains a beloved musical for its captivating story, unforgettable score by Harry Warren and Al Dubin, and spectacular tap dance numbers. It’s a celebration of perseverance, the magic of theatre, and the enduring allure of the Broadway dream, continuing to resonate with audiences worldwide.
