By Eliza Een
The Drowsy Chaperone, which opened on Broadway in 2006, is the opening show in the SCERA Center for the Arts’ 2021–2022 indoor season in Orem, UT. The book of the musical was written by Bob Martin and Don McKellar, with music and lyrics by Lisa Lambert and Greg Morrison. This show is a fantastic opener for the season, with entertaining music, heartwarming moments, and strings of jokes that leave the hall echoing with laughter.
The Drowsy Chaperone is a comedic show-within-a-show narrated by “Man in Chair” (JD Ramey), whose strong feelings for the theater bring him to emotional extremes throughout the show as he plays the soundtrack to his favorite musical from the comfort of his apartment. As the record plays, his living room is transformed into a stage for the musical cast. The characters prepare for the wedding by remedying “Cold Feets” and surviving shenanigans until they say “I Do, I Do In The Sky,” all while playing out popular tropes and tricks of the theater with frequent interruptions by Man in Chair. His comments relate the history of the show and its cast, as well as details from his personal life. “As We Stumble Along” to the end of the show, the bride and groom sort out their troubles, the subplots untangle themselves, and everyone celebrates as they tie the knot. Some mature humor and themes, such as drinking, intimate relations, and threats of violence, are the center of several jokes within the show, which is probably most appropriate for older audiences.
The bride and groom to be, Robert Martin (Bryan Johnson) and Janet Van de Graaf (Samantha Frisby), are both adorably corny and sickeningly sweet. Johnson’s facial expressions were off the charts and absolutely perfect for the role of the groom and ex-toothpaste-commercial actor. His smile could only be outshined by Frisby and her performance of “Show Off.” She portrays the role of diva to a T and brings the same energy to “Bride’s Lament,” which showcases her range as an actress in both the somber and vivacious moments. The Drowsy Chaperone (Tannah O’Banion) lives up to the Man in Chair’s description of her as a rousing singer in the show’s anthem “As We Stumble Along,” in which O’Banion asserts herself as a fellow diva of the stage. Her sarcasm and disinterest are well-matched to the other actors’ performances and crucial to maintaining the balance between each big personality. The suave Aldolpho (Devin Glenn) leaves the audience in stitches with his extravagant portrayal of the stereotypical flamboyant European. The other central characters, the best man George (Jared Wilkinson), the Producer Feldzieg (Robert Holcombe), the aspiring leading lady Kitty (Abby Bradshaw), the gangsters (#1 Jarom Swanson, #2 Erik Rytting), Mrs. Tottendale (Katie Warne), her Underling (Dane Allred), and Trix the Aviatrix (Abigail Crist), all give committed performances that show their understanding of meta aspects of their characters in this show-within-a-show.
There truly isn’t a dull moment in the show, from the attention-grabbing opening scene to the introduction to the intermission and finally to the touching finale. The stellar performance of the cast showcased the full range of the characters and brought a continuous energy to each scene.
The set design (from the talented Shawn Herrera) is delightful, and the apartment furnishings gain dual functions interacting with both the Man in Chair and the musical cast. The lighting (Elizabeth Griffiths) and sound (Chase Elison) perfectly match and support the actors in their performance and shift perfectly with the interruptions from Man in Chair. I was particularly impressed by how crisply the cast froze in place each time, only to jump back into life (and pitch!) when the musical resumed. The director Julie Bonifay, music director Dana Cardon, and choreographer Rebecca Boberg are to be applauded for their precise direction of the cast and for their combined talents. The costumes (Deborah Bowman) are colorful and exciting, especially with the quick changes and dramatic entrances. The crew does a phenomenal job supporting their cast while remaining essentially invisible.
As much as I laughed with the rest of the audience at the antics of the cast and Man in Chair, I was sincerely touched by some of the deeper moments of the show, especially as Man in Chair contemplates the message of the musical’s finale. Ramey’s comedic timing and sardonic air are exactly what you would hope for from anyone who plays Man in Chair. His fourth-wall connection to the audience never wavers, and he builds that relationship throughout the show to drive home its final message.
For anyone who’s ever dreamed of putting on a Broadway show in their living room, this is the show for you! Find someone whose laugh you love and bring them to see the most incomprehensible show in town: The Drowsy Chaperone!
The SCERA Center for the Arts presents The Drowsy Chaperone, written by Bob Martin and Don McKellar, music and lyrics by Lisa Lambert and Greg Morrison. At the SCERA Center for the Arts 745 S State St, Orem, UT 84058
September 17–October 9, 2021. Mondays, Thursdays, Fridays, and Saturdays at 7:30 PM
Tickets: ($12–14)
Ticket Office: 10:00 AM–6:00 PM weekdays and Saturdays 12:00-6:00 PM, phone number (801) 225-2787
SCERA Events: The Drowsy Chaperone
SCERA Facebook Page
Facebook Event Page
Playbill
0 Comments