The famous songs from 42nd Street - We're In The Money and 42nd Street - bring an upbeat mood to this simple story of little girl makes good. Tap dancing which makes your eyes swirl fills this production from beginning to end.

How the cast maintain this level of activity for more than two hours is a marvel. A breath-taking exhibition with not one performance which falls flat. 42nd Street is a very demanding musical, with a huge amount to learn, not just for leads but the chorus as well. It isn't the lines which make the show tricky, but the dance and step movements. Knowing that each one has to be rehearsed over and over makes you appreciate the work which must have gone into the show backstage.

Delaney Brindle playing Peggy Sawyer - the chorus line girl with big ambitions - is a real treat to watch. David Wilson as lady-killer Billy Lawlor raised laughs with his wickedly devilish performance. Poor Dorothy Brock, played with skill by Joyce Walters, is the star whose glamour is fading fast. Michael Taylor plays hard-boiled Director Julian Marsh. His performance gives the character the right balance of cynicism and sympathy.

The songs come thick and fast. And the sparkling set is a real treat. It is a night of great entertainment, a real taste of Broadway razzmatazz coming to leafy Egerton.

Matthew Taylor

With an experienced production team of Nora Howcroft (I would be ungentlemanly to say how many years in the amateur fold), Choreographer Barbara Grant (well known and respected throughout the area) and Musical Direction by Adrienne Wormald (who would seem equally at home in the 'pit' as she does on stage) one would assume that a good show would follow. Not surprisingly, considering the current talent available at the society, a good show was dutifully delivered.

Chorus work has occasionally in the past been a shade under par. However the efforts of the choreographer seem to have paid dividends this time with well co-ordinated dance routines. The society is also renown for scenery and the backstage staff duly obliged with an excellent art deco styled set.

Joyce Walters gave a studied performance of the established star Dorothy Brock who, although supposedly over the hill, still retained plenty of sparkle. Delaney Brindle, was excellent as the newcomer on the scene. She made the character of Peggy Sawyer entirely believable, gave a first rate performance in every discipline and really looked capable of taking Broadway by storm. Jane Bickerstaff gave a solid performance as Maggie Jones and was ably partnered by the experienced Don Howcroft as Bert Barry.

Michael Taylor produced an assured performance as the forceful Julian Marsh commanding the stage at all times. David Wilson moved well and gave a nice relaxed portrayal of Billy Lawler whilst Roger Higginbottom did well as Andy Lee. Smaller parts were also well served with Eddie Williams making the most of the part of Pat Jennings, Vicki Wilson as the bubbly Anytime Annie, Sarah Booth (Phyllis) and Karen Millington (Lorraine) dancing well and Harry Lee perfect as the cigar chewing Abner Dillon.

It was obvious that a great deal of time and effort had gone into the production numbers, the cast looked as if they were enjoying themselves which quickly translated to the audience and the show was fully deserving the applause it received.

Glyn Neary