As a young child I remember on wet Sunday afternoons watching the black and white Hollywood musicals of the 30’s with my gran. I was always totally blown away by the sheer magic of it all – a magic that has been retained in the stage production of 42^nd Street.

Starting life as a novel in the 1920’s 42^nd Street went on to be the film that revitalised the American musical and lifted the nation’s spirits during the dark days of the Depression.

Although it’s a rags to riches story of a chorus girl who steps into the leading role is predictable, in today’s economic and social climate with its glitz and glamour and wall-to-wall toe tapping it delivers a wonderful feel-good factor and escapism.

Director Jonathan Church has created a brilliant vintage stage spectacular that is fast, seamless and leaves the audience breathless with its speed and precision.

Bill Deamer’s choreography is more than technically perfect – it is mind blowing and teams well with Robert Jones’s glitzy, glamorous and deliciously over-the top costumes – costumes which still pay homage to the 30’s style.

Set in 1933 and ageing star Dorothy Brock is all set for top billing in a new Broadway musical Pretty Lady. The show is financed by her sugar daddy and the show won’t go on unless Brock is in the main part – even though her dancing and singing skills are very questionable.

Brock has an accident and it looks like the show won’t go on and everyone’s back in the dole queue if this happens. But in true theatrical tradition the show is saved by Peggy an extremely talented small town chorus girl.

42^nd Street has an exciting cast of principals Samantha Womack is a wanna-be-diva and nails the part wonderfully with some great comedy lines. Faye Tozer (Maggie) shows there’s more to her talents than being in Steps with a perfect characterization of the producer/writer, her facial expressions and comic timing are excellent and teamed with Les Dennis (Bert) as her partner they make a great team.

Michael Praed’s portrayal of Julian Marsh the ‘big boss’ is so true to life with  his stern manner and hard-taskmaster persona yet in the end we see him melt and utter some real inspirational advice to the up and coming young star.

Sam Lips (Billy) makes a dashing leading man in every way with a superb tenor voice and the ability to tap his way to success.

But its Nicole-Lily Basiden who shines both in her vocals and her exceptional tap dancing skills. This girl is the show’s answer to the great Ruby Keeler.  As Peggy, he has the naivety and star struck aura of an ordinary small town girl – and plays it to perfection.

But what sets this show apart from any other currently touring musical is the amazing high energy of its ensemble. For 42^nd Street belong to this magnificent ensemble.

They sing and tap dance their way through number after number of show stopping routines without putting a tap wrong so to speak and execute numerous costume changes – some of the quickest I have seen for some time – including hats and wigs not easy things to change I can tell you from experience!

42^nd Street is blessed with 10 strong live orchestra under the expert baton of Grant Walsh who rightly deserved the tumultuous applause on the final curtain drop.

Unlike many musicals you are bound to fall for its feel-good factor and its songs such as ‘We’re in the Money’ ‘I only have eyes for you’, ‘Lullaby of Broadway’ and Shuffle Off to Buffalo, to name but a few will stay with you long long after you have seen the show.

With lots of glitz, glamour, razzamatazz this is a good old fashioned Hollywood musical at its best.

Runs at Leeds Grand Theatre until Saturday 29 July.

Liz Coggins is a member of the Critics Circle