"42nd Street" is a quintessential backstage musical, a genre that thrives on showing the drama and excitement of putting on a show. Based on Bradford Ropes' 1932 novel and its 1933 Hollywood film adaptation, the musical plunges audiences into the rehearsal process of a Broadway production during the challenging era of the Great Depression. Its narrative arc follows the classic underdog story, focusing on a young, aspiring performer who gets an unexpected
shot at stardom, alongside the trials and tribulations of the seasoned professionals around her.
The Journey of Peggy Sawyer: From Chorus Girl to Star
The story begins with Peggy Sawyer, a fresh-faced young woman from Allentown, Pennsylvania, arriving in New York City with dreams of Broadway. She arrives at auditions for a new show called "Pretty Lady" just as they are concluding. Billy Lawlor, one of the juvenile leads already cast, notices her and tries to charm her, offering to help her bypass the audition process. However, choreographer Andy Lee dismisses her, and an embarrassed Peggy rushes off, only to literally run into director Julian Marsh.
Despite missing the initial audition, Peggy's talent is eventually recognized. After being befriended by chorus girls Ann "Anytime Annie" Reilly, Phyllis Dale, and Lorraine Flemming, who invite her to lunch and offer advice, Peggy is encouraged to perform a dance routine. Julian Marsh witnesses this impromptu performance and decides there might be room for one more chorus girl after all, marking Peggy's first step into the world of "Pretty Lady." Her journey from an unknown hopeful to a potential star forms the emotional core of the musical.
The Drama of "Pretty Lady" and its Troubled Production
The production of "Pretty Lady" is fraught with challenges, largely centered around its star, Dorothy Brock. Dorothy, a one-time star, is indignant at being asked to audition but is reassured by co-writer and producer Bert Barry. Marsh agrees to cast her primarily to secure financial backing from her wealthy beau, Abner Dillon, despite feeling she is a prima donna past her prime. This financial dependency creates immediate tension, especially when Abner objects to a kissing scene between Dorothy and Billy, leading to its removal.
Further complications arise from Dorothy's secret long-term relationship with Pat Denning, her former vaudeville partner. When Peggy faints and is found in Dorothy's dressing room with Pat, Dorothy mistakenly assumes they are having an affair. Julian Marsh, fearing Abner will withdraw funding, intervenes, using unsavory acquaintances to intimidate Pat into breaking off contact with Dorothy. This manipulation highlights the cutthroat nature of Broadway and the lengths to which a director will go to protect his show. The cast then departs for Philadelphia for the out-of-town tryout, a common practice to iron out kinks before a Broadway opening.
The Climactic Turn and the Birth of a Star
The Philadelphia tryout brings more drama. Scenery and costumes are delayed, but rehearsals continue. At a party, a drunk Dorothy, missing Pat, reveals to Abner that she was only with him for his money, causing him to threaten to close the show. Julian manages to convince him to keep it running. Dorothy finds Pat again, but he is once more driven away by Julian's hired thugs. Peggy tries to warn Pat, and Dorothy catches them together, leading to a furious outburst from the star.
The turning point arrives on opening night. During the performance of "Pretty Lady," someone bumps into Peggy, causing her to knock over Dorothy, who breaks her ankle. An enraged Julian immediately fires Peggy and announces the show's cancellation. However, the chorus kids, convinced of Peggy's talent, persuade Julian to give her a chance as the lead. Julian rushes to the train station to intercept Peggy, who is disillusioned and ready to return to Allentown. He convinces her to stay, and with the support of the cast, she accepts the daunting task of learning the lead role in two days. Dorothy, surprisingly, offers Peggy advice, recognizing her potential. The musical culminates with Peggy's triumphant performance, launching her into stardom and solidifying the iconic line from Julian Marsh: "You're going out there a youngster, but you've got to come back a star!" The show is a huge success, and Peggy, despite being invited to the official opening night party, chooses to celebrate with the chorus, demonstrating her humility and connection to her roots.
