"No problems about the salary," announces Miss Dorothy Brock majestically. "I've just added another nought."

Miss Brock is A Star and we are talking of the days when a star really was a star 42nd Street started in 1933 as a Busby Berkeley film musical, writes Giles Woodforde.

The only trouble is that, quite frankly, the lady is past her prime. But who is going to tell her? Certainly not her toadying sugar-daddy, Abner Dillon (given a wonderful cameo performance by Halcro Johnston). And certainly not the director of her new show, Julian Marsh.

In the end fate takes a hand: poor Dorothy breaks an ankle in rehearsal and is out of the production. Of course, in the best tradition of backstage musicals, an unknown member of the chorus steps into the breach and is an instant success.

In this revival of 42nd Street, Dorothy is played by Ruth Madoc, known and loved as the redoubtable Gladys Pugh from TV's Hi-de-Hi! She makes the part all her own as she terrorises those around her, softening only at the end when she comes to like young Peggy Sawyer who will replace her in the show. The only trouble is that Ruth Madoc is plainly an extremely effective singer and can't always quite convince an audience that she no longer cuts the mustard. Almost appropriately, on opening night Peggy Sawyer was played by understudy Shelley Otway.

Complete with a dazzling smile and suitably modest personality Miss Otway seemed thoroughly confident in her role.

Most effective too, are James Smillie as director Marsh and the irrepressible Harry Dickman as Bert the rehearsal pianist. Last but by no means least this tuneful show is given a very necessary lift by its well-drilled chorus.

But with respect, is the prominent use of a modern electronic organ really appropriate for a musical set in 1933?