The Drowsy Chaperone

The ‘Man in the Chair’ character in this musical confection reminds us that good musical theatre should be ‘short, free of actors who roam the audience, and blessed with a story and a few good songs that will take me away.’ The Drowsy Chaperone does just that, and puts a smile on everyone’s face in the process.

Has there ever been a more glorious character invention than ‘The Man In the Chair’? Transported by what he imagines is happening on the stage as he listens to the vinyl recording of his favorite musical, it’s what every musical theatre geek experiences every time they listen to a cast recording.

The Drowsy Chaperone sends-up a 1920s musical in much the same way as Sandy Wilson’s The Boy Friend did in the 50s, and Dames at Sea did in the 60s. It’s a loving spoof about a Broadway star who wants to give up the theatre for love, her chaperone who is much too fond of vodka, a tap-dancing leading man and his best man (also a tap dancer), a Latin Lover, an aviatrix, and a couple of vaudevillians playing out a hoary old spitting scene as a running gag.

Director Robbie Parkin has assembled an astute collection of talent who bring this paean of Broadway lovingly to life. Brad Ashwood as The Man in the Chair was the epitome of a musical theatre queen, lost in a reverie of song-and-dance with witty asides that hit the mark. It was funny when the needle got stuck in the groove and the whole cast repeated the moment as he rushed across stage to correct it, and at the end with a sudden blackout just as the show (on record) was finishing. These were moments of sheer joy, which Ashwood handled like a pro. He was the star.

Carly Wilson’s Janet Van De Graff was a tour-de-force in ‘Show Off’, the score’s best number, whilst Vanessa Wainwright, as the title character, made a martini-meal of ‘As We Stumble Along’. Newcomer Rhys Rice showed spectacular tap skills in ‘Cold Feets’, ably assisted by Andrew King as George.

Christopher Thomas was a fun Latin swain, Kaitlyn Burton a ditzy Kitty, with Nathaniel Young getting ‘heavy’ as Mr. Feldzieg. But best-of-all was old-stager Warryn James as the butler. Dry, acerbic and totally at home in his vaudeville patter he was a beacon of laughs whenever he appeared. Opposite him as Mrs. Tottendale, Jacqui Cuny was a super foil, and their duet ‘Love is Always Lovely in the End’ was a delight

Benjamin Tubb-Hearne’s off-stage orchestra handled the charts well, whilst Natalie Lennox’s moves included plenty of ‘Charleston,’ and Parkin’s direction zipped along con brio!

Peter Pinne      

Photographer: Sharyn Hall