So sunny are the vibes that those characters who are supposedly caddish or cantankerous come out as decent chaps. Adam Garcia puts in a solid performance as demanding director Julian Marsh, although for someone best known as a killer tap dancer, you’re just dying for him to come out hoofing. The other great voice in the show is the suave Sam Lips as Billy Lawler, with his strong, bright tenor. You’re Getting to Be a Habit With Me is a real treat. Bar one flat note, her singing’s on another level, the rich reeds of her voice and rounded tones in the lower registers especially. Henshall may be playing a faded star, but she’s still the commanding presence of this show. Just when you think it’s all getting a bit silly, then strikes up the classic Lullaby of Broadway, or Henshall singing the a cappella opening of I Only Have Eyes for You, and silly turns sublime. It’s those songs – along with the motoring rhythms of Bill Deamer’s choreography – that really drive the show. The plot, well, what does it matter, but there’s a make-or-break opening, ageing star Dorothy Brock (Ruthie Henshall) juggling the sugar daddy bankrolling her career and her true love, a few unnecessary misunderstandings, fabulous hoofing and a glut of excellent songs by Harry Warren and Al Dubin. Ruthie Henshall (Dorothy Brock) in 42nd Street.
