Review: 42ND STREET at Georgetown Palace Theatre

I'll admit it upfront: 42nd Street is one of my favorite musicals. I watched my daughter perform it at McCallum High School, and I've seen it twice in London's West End. Every time I revisit it, I'm reminded why it has remained a Broadway classic for more than four decades. Beneath the glitter, chorus lines, and dazzling tap routines is a wonderfully simple story about ambition, resilience, and being ready when opportunity knocks.

With music by Harry Warren, lyrics by Al Dubin, and a book by Michael Stewart and Mark Bramble, 42nd Street follows Peggy Sawyer, a young chorus girl who unexpectedly finds herself carrying Broadway's newest show. It is one of musical theatre's great backstage stories and, for any company willing to produce it, one of its greatest challenges.

Georgetown Palace Theatre takes that challenge head-on.

Directed by Kristen Rogers, this opening weekend production is filled with genuine affection for the material. It may not have all the ingredients needed to recreate the full Broadway spectacle, but it never loses sight of the joy at the heart of the piece. Sometimes that enthusiasm carries the evening further than technical polish.

The Springer Stage is the production's greatest limitation. 42nd Street was built for large stages where chorus lines can stretch across the width of the theatre and production numbers can build to breathtaking scale. Here, the ensemble often has very little room to move, making several numbers feel compressed. Nick Wigg's scenic design relies on projections and painted backdrops to suggest the changing locations, a practical solution that works well enough, even if it cannot provide the visual grandeur so closely associated with the musical. Alyssa Marquez's costumes, meanwhile, bring plenty of period style and sparkle.

Vocally, the production is solid, and the acting serves the story well. Rather than relying on standout dramatic performances, the cast works together to keep the focus on Peggy's journey and the backstage world surrounding her.

Antonette Knoedl is the clear standout as Peggy Sawyer. She captures Peggy's innocence, determination, and excitement without ever pushing the character too far in any direction. Her dancing is confident, her vocals fit the role well, and her wide-eyed reactions make it easy to believe she is a young performer whose biggest dream is simply to be on a Broadway stage.

Brian Joyce gives Julian Marsh the authority the role requires, and his rich singing voice brings welcome strength to the score whenever he steps into the spotlight.

The tap, however, never quite catches fire. 

The steps are there, but too often the numbers feel careful instead of carefree. 42nd Street works best when the audience forgets how difficult the choreography is because the performers make it look effortless. Here, that effortless quality remains just out of reach. The women generally appear more comfortable with the choreography than the men, and that difference becomes increasingly noticeable as the evening progresses.

The limited stage doesn't help. With so many performers sharing such a compact space, some of the larger production numbers feel crowded, leaving little room for the choreography to breathe or build the sweeping momentum audiences associate with the show.

That is perhaps most noticeable in Dana McLaughlin as Billy Lawlor. The role usually glides through the musical with easy confidence and irresistible charm. Here, the dance sequences occasionally feel tentative, making Billy less magnetic than the role usually allows. Opening weekend nerves may well account for some of that, and this is exactly the sort of performance that often grows as a run continues.

As the final curtain fell, I found myself thinking about the audience more than my own expectations.

I know 42nd Street almost step for step. I've watched my daughter perform it, and I've seen productions with seemingly endless stage space and companies filled with seasoned tappers. Inevitably, those memories shape how I watch this musical.

Most of the audience, though, wasn't carrying those comparisons into the theatre. They were simply enjoying one of Broadway's most beloved musicals, and judging by the laughter, applause, and smiling faces at curtain call, Georgetown Palace gave them exactly what they came for.

Would I have liked more confidence in the tap numbers? Absolutely. A little more room for the choreography to breathe? Without question.

But I also left appreciating the ambition behind the production.

Not every theatre has the space, the resources, or the roster of dancers needed to produce 42nd Street. Georgetown Palace mounted it anyway and did so with obvious affection for the material. This production has more heart than polish, and while it never quite reaches the effortless sparkle that makes 42nd Street unforgettable, its sincerity and enthusiasm prove equally difficult to dismiss.

If you've never seen 42nd Street, this is a wonderful opportunity to experience one of Broadway's great backstage musicals. Productions of this tap-heavy classic are surprisingly rare, and despite its imperfections, Georgetown Palace delivers an evening filled with heart and genuine enjoyment.

Run Time: 120 minutes with an intermission
Rating: Appropriate for all audiences
Content Warning: Contains mild profanity and violence, smoking, and alcohol use

42nd Street
Music by Harry Warren
Lyrics by Al Dubin
Book by Michael Stewart and Mark Bramble
Directed by Kristen Rogers
Choreography by Jesee Smart

Now playing through August 30, 2026
Fridays and Saturdays at 7:30 p.m.
Sundays at 2:00 p.m.

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