Differences in Original and Revival of 42ND STREET — Page 2

Ebersole was spectacular and her "I Only Have Eyes for You" was THE highlight of the show. Otherwise, the revival was kind of overblown and tacky, I thought.
The original was really terriffic, particularly because it wasn't overblown and tacky. Sure there was a big chorus, lots of costumes and lots of set, but not like the revival.

There's actually a lot of difference between the original and the revival. The costumes and sets in the revival take on a colors of the rainbow approach, which is bright and beautiful, whereas the in the original they were much more period and realistic.

The Dames number was revamped. In between "Dames 1" and "Dames 2" (The first being sung with Billy and 4 other boys, and the later happening later with all the men and women) in the original was 'Beauty School' where all the women are playing around and 'exercising', throwing balls around to each other, stretching and such. Following which it would segue into Dames 2. In the revival instead of 'Beauty School' it goes into 'Keep Young and Beautiful' sung by Maggie and Bert surrounded by all the young women. They finish their song and the girls go into a ballet routine with handheld mirrors, eventually turning into a Busby Berkley kaleidoscope-esk scene with the girls laying on the stage in a circle and creating different images while a huge mirror descends from the ceiling, tilting towards the floor for the audience's view. Then segueing into Dames 2.

Dorothy sings 'I Only Have Eyes For You' instead of 'I Know Now'. I believe this was Mark Brambles (co-author who has directed every major production since Gower's death on opening night of the original) wish from the beginning, and it started happening in productions as early as the Australian production in the early nineties. Possibily earlier?

'Plenty of Money and You' is added following 'Quarter to Nine', giving Peggy (and the boys!) more of a featured role in the show.

The biggest (and possibily the most controversial change) in the show is in the '42nd Street Ballet'. In the original, Billy's sailor role gets mistakenly shot and killed by the gangster, who is shooting at the theif who stole his girlfriend's purse. Billy dies and Peggy looks around for help. She stares around in disbelief while the city quickly gets over it and resumes it's daily pace. She can't help but get sucked in by the city and has no choice but to join in. In the revival, the thief actually DOES get shot and killed, and Peggy is traumatized by seeing his death. Billy tries consoling her when magically a golden staircase appears behind them full of dancing people, and they join in. It seems to cheer her up. It doesn't make much sense, but it's a crowd pleaser.

Another thing added to the revival was the Encore following the Bows. The choreography was greatly revised overall for the revival, the only numbers remaining (somewhat) in tact were the Audition, We're In The Money, Lullaby of Broadway, and Shuffle Off To Buffalo.

^ That's because Merrick announced Gower's death onstage and because THE event on the revival's season was The Producers.

Updated On: 6/13/07 at 04:28 PM

Defyinggravity11, to answer your question, "Sunny Side" was done the same way in both productions.

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Well, Gower's death made it even bigger. I know that there were a great deal of stars in attendance opening night though (Merman, Fosse, etc).

I remember seeing it with both Leavel and Ebersole. Leavel played it much more for laughs and was very good, but I much preferred Ebersole. Her voice is so pure and "I Only Have Eyes For You" was the one heartfelt moment in the show. And it was very much needed. It was a fun revival but sometimes so much smiling can do an audience member harm.

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2 words! JERRY ORBACH!! this IS WHAT A LEADING MAN USED TO BE LIKE, SOUND LIKE, ACT LIKE ! A Treasure. And my God, does anyone remember him in the ORIGINAL Chicago?? WOW !! I hate to sound like an old fogey, but "those were the days, the last days.........."

I saw the original two nights after the opening. There hadbena memorial service for Champion that morning, and the cast was very emotional during the curtain calls. Jerry Orbach looked particularly wiped out. Remember, Champion had directed Orbach in his first Broadway leading role (Carnival).

It was an amazing night.

A little context. 42nd Street Re-re-re-introduced tap dancing choruses to Broadway. Sure there had been a few revivals in the years before, but "No No Nanette" was the last big one and that opened nine years earlier. And that was so SO SO period the tapping seemed quaint to me.

I think a lot of the audience didn't know what they were getting into that night.

But when the curtain went up three feet that night at the Winter Garden and the THUNDER of all those feet tapping in unison filled the auditorium, it really took your breath away.

And number after amazing number, almost all, it seemed, with tapping. Wow.

And for the time the show was huge. The sets moved smoothly and fast. The transitions were so cinematic and the cast was so, so talented.

Lee Roy Reams has talent in his fingernails. Tammy Grimes brought a wonderful faded glamor and Jerry Orbach was just class on a stick.

He only sings once in the show and they make you wait until the middle of Act 2, but that's enough. When he said "Allentown?" and the orchestra was coming in slowly, there was a hush in the theatre as everyone realized the money shot was about to hit. "Allentown?" then MORE dialogue. When do we hear the voice?...

And then, that huge voice "Come on along and listen to..."

The orchestra goes nuts BAAAA_WHUUUUP as if to say "now THIS is a star at work, stand back"

"The Lullabye of Broadway..."

Heaven. Bliss. What a great number.

By the way, talk that night was that his voice was shot. He acquitted himself very nicely, although I do kinda remember a certain hoarseness on a line or two.

Then the (it seemed then HUGE closing number)and just a little touch of Jerry again. Worth every penny of the, what $40.00 we paid? (I can't remember and I collect playbills, not tix).

And then the show is over and we're applauding like crazy and then Merrick drops the bomb on the proceedings.

Without, apparently, telling anyone.

I'll bet half the cast wanted to send him off to confer with Gower right at that minute.

Except everyone knew they would be going in opposite directions.

Then the audience grabbed every program they could get their hands on as ghoulish souvenirs. I had to fight to keep my two battered copies.

What a weird and yet unforgettable August night.

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I remember someone in the audience saying he made one of the final rehearsals, sitting under a pile of blankets.

I also remember it was sweltering hot on Aug 25th.

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Updated On: 6/14/07 at 03:10 PM

Wanda was out the day I saw it. I saw her understudy Gail Benedict. Other subsequent Peggy's I saw in that production were Karen Ziemba and Clare Leech.

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And that - for the period - amazing dressing room set for "About A Quarter To Nine." It was so "modern" that each cubicle was wired individually with a big, old fashioned light switch and the cast CA-CLUNK turned off and on the lights in unison.

Someimes, someone missed....

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