Out of the dark, comes a man's voice that says, "I hate musicals." And we're hooked on "The Drowsy Chaperone, a delightful and often ridiculous musical romp.
The show's creators started with stock characters and plots, then whipped them into a frothy and frivolous musical. Lisa Lambert (music) and Greg Morrison (lyrics) won a Tony Award for their buoyant score; so did Bob Martin and Don McKellar for their witty book.
Director/choreographer Casey Nicholaw delivers this zany musical bauble with charm and sparkle. Like a bootleg champagne, the 2006 Broadway show pays affectionate but irreverent homage to Prohibition and vintage Broadway days of the Roaring '20s. Featuring fabulous singers and dancers, nonsensical lyrics and terrific orchestrations, the musical touts mix-ups, mayhem and a gay wedding-gay in the old fashioned sense. Not to give away the ending, but you could call this feel-good production "Four Weddings and A Musical."
The master of ceremonies is a lovable but lonely show queen called the Man in the Chair, endearingly played by Jonathan Crombie with masterful comedic timing. As the curtain goes up, the Man hovers near his old stereo, spinning vintage vinyl records, while he rhapsodizes about his favorite musical, "The Drowsy Chaperone," an unknown relic from a bygone era. As he chats up the audience, his drab life gradually becomes a Technicolor fantasy. His favorite musical unfolds, as his shabby studio apartment transforms into a posh country estate, with the performers making entrances and exits through his refrigerator. Between musical numbers, the Man deconstructs the action and gossips about the actors. And sometimes he even joins the action.
Silly? Oh, yes! Clever? Absolutely! Irresistible? You betcha!
The show-within-a-show trots out familiar characters with a flourish. It's back to November 1928 and the eve of the wedding between Robert Martin, played by the marvelous Mark Ledbetter, and Janet Van De Graaf, played by the sassy Andrea Chamberlain. Janet's a Broadway singing sensation-a soprano of course--who's giving up show biz to marry Robert. He's a handsome wuss, Dudley-Do-Right-style, who just happens to be the son of an oil millionaire. And of course, he's a terrific tenor who tap dances.
These two are getting hitched at the country manor of society scatterbrain, Mrs. Tottendale (Georgia Engel), a dizzy dowager kept on track by her loyal butler. Also in attendance is Feldzieg, Janet's disgruntled producer-he's secretly plotting to foil her nuptials. And for companionship, he brought along Kitty, his blond bimbo girlfriend-she's a shrieking chorine angling for her big break.
Since Feldzieg raises money from dubious connections, he's being stalked by twin thugs disguised as pastry chefs. So there are dessert puns galore. "Have I made myself perfectly éclair?" and "One cannoli hope."
Add to this eclectic house party, an androgynous aviatrix, a Narcissistic Latin lover, and The Drowsy Chaperone, the bride's floozy sidekick--and inspiration for the show's title--played by Alicia Irving with jaded soigné. Her glittering accessories? Besides her smashing '20s couture, she's never without a cigarette holder and a full martini glass. Her mission? To keep the bride from seeing the bride groom before the wedding. And she takes her responsibilities with a grain of alcohol.
Janet flaunts her decision to give up the stage with a command performance of her talents-all of them, from twirling batons to cartwheels and splits in "Show Off." Not to be outdone, her boozy Chaperone displays her charms in her dynamic "eyeball on the highball" solo, "As I Stumble Along." Like the divas they are, Chamberlain and Irving belt their numbers with Broadway pizzazz, effortlessly holding those final notes for what seems forever.
A member of the original Broadway cast, Engel endows the feather-headed Mrs. Totendale with a ditzy optimism, particularly during the sweet melody, "Love is Always Lovely in the End." You may recognize Engel from "Everybody Loves Raymond" (Amy's mom) and "The Mary Tyler Moore Show" (Ted's dimwitted girlfriend).
Brothers Paul and Peter Riopelle liven things up when the gangsters get bitten by the stage bug. It's obvious they're having a wonderful time, especially during the comic production number, "Toledo Surprise."
But the most outrageous turn of all is that of Dale Hensley. As Aldolpho, Hensley oozes Latin flamboyance with possibly the worst-and funniest--Spanish accent ever heard. You cringe and laugh simultaneously when he struts his manly splendor, as only a perfect fool would dare. Along with the tap-dancing and singing, there's shtick aplenty. The actors stutter when the record skips and freeze when the Man's phone rings or the power goes off. The bridegroom-to-be roller skates while blindfolded and Mrs. Tottendale spits her booze. Remember, it's Prohibition, and the code word for vodka is ice water.
"The Drowsy Chaperone" takes us on a giddy ride. When you leave the theater, you may not remember the lyrics, but you'll be humming the melodies. Like the Man in the Chair reminds us, "Back then it just meant fun. And that's what it is-fun."
We couldn't agree more.
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