The Drowsy Chaperone
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Jonathan Crombie
Photo by Craig Schwartz
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By Melinda Schupmann
The Drowsy Chaperone is just what it intends to be--infectiously funny, lively, and a couple of hours of pure pleasure watching energetic performers mug it up for the best of reasons. This set of touring players may not be quite as dynamic as the group who introduced this show in L.A. prior to its leap to Broadway (see expanded review in Theater Archives 2005), but they have all the right stuff to engage audiences who are getting their first look at Bob Martin and Don McKellar’s lovefest to Broadway musicals.
Director and choreographer Casey Nicholaw has been with the show from its inception, and he takes this new cast along with him as they punch up the series of songs and dances that energize the slender-thin plot.
In this go-around, Jonathan Crombie takes the place of author Bob Martin as Man in Chair. He does a fine job of playing the slightly rumpled theater lover who invites us to join him in one of his favorite Broadway shows, a 1928 play called The Drowsy Chaperone. As he introduces us to the story and provides lots of background as the show progresses, the stage is transformed into the musical, and all the main characters come forth in the first production number, “Fancy Dress”. It’s an homage to the Broadway musical that is a delight.
Georgia Engel returns as the sweetly ditzy Mrs. Tottendale, accompanied by her Underling Robert Dorfman. There is scarcely a reason for her character, except for some vaudevillian-comedy moments. Leading lady Janet Van De Graaff is played most charmingly by Andrea Chamberlain. Her number “Show Off” is a highlight of the show.
The Drowsy Chaperone is broadly played by Nancy Opel, and she makes the most of her caricature of the alcoholic, former leading lady/chaperone. Her number with Latin lothario, Aldolpho (James Moye), makes the most of some nifty choreography and Gregg Barnes costumes.
Mark Ledbetter plays Robert Martin, Janet’s handsome bridegroom, and his enjoyable tap number with his best man, George (Richard Vida), takes you back to the obligatory musical numbers a la Astaire.
The balance of the actors are some fine stereotypes—two gangsters posing as pastry chefs (Paul Riopelle, Peter Riopelle), a Broadway producer, Feldzeig (Cliff Bemis), his dumb-blonde mistress, Kitty (a funny Marla Mindelle), and an aviatrix (the huge-voiced Fran Jaye). They are all pleasantly larger than life.
Lisa Lambert and Greg Morrison’s music and lyrics are razzle dazzle, and David Gallo’s scenic design is spectacular, transforming Man in Chair’s humble apartment into a full-fledged Broadway set-up.Barnes costumes are first-rate, and Josh Marquette’s hair design rounds out the visual enjoyment.
Not to be skipped is lighting design by Ken Billington and Brian Monahan and sound design by Acme Sound Partners. It makes vivid some marvelous moments, especially an Asian production number, “Message From a Nightingale,” all in brilliant red.
Only the most curmudgeonly critic would pan this show. It is a refreshing night at the theater than can be enjoyed more than once. This was my third visit, and I found myself grinning through most of the show. But, then, I have much in common with Man in Chair and his love for musical comedy.
The Drowsy Chaperone, presented at the Ahmanson Theatre, Center Theatre Group, 135 N. Grand, Los Angeles. Tickets www.CenterTheatreGroup.org, 213-628-2772. Tues.-Sat. at 8; Sat. at 2 pm; Sun. at 1 pm and 6:30 pm. Dark Mon. $30-90. Closes July 20.
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