By Amanda Berg Whittle
Midvale Arts Council presents The Drowsy Chaperone, as the writers put it, “a musical within a comedy,” about a somewhat awkward theater lover, curiously called Man in Chair (Devin Spann) who invites the audience into his home to listen to a record of his favorite musical, The Drowsy Chaperone, which is a stereotypical 1920s romantic comedy. This man reminds me of myself, as I tested my now husband’s patience when we began dating, as I forced him to listen to a musical’s entire soundtrack just because I loved it and wanted him to love it too. Frankly, he didn’t care, but he married me anyway. Unnamed Man in Chair, I can sympathize with your enthusiasm. Anyway, as Man in Chair listens to the record, the show plays out onstage. It begins as just a little bit ridiculous, and over time, becomes absolutely outrageous, starting with a man skating around with a blindfold and singing, and culminating in a love song about monkeys. This all makes sense in context… kind of…. But really, it’s hilarious. I have never laughed so much during a musical before, and I have never seen so much legitimate talent in a community theater show before. Had the stage been larger, I would’ve thought I was at a professional performance. Nonetheless, I kind of enjoyed the small size of the theater, as it felt like the cozy house of the Man in Chair.
The show begins when a melodramatic theater actress, Janet (Sydney Peebler), announces her marriage to a man she has only known for a brief time, Robert (Brandan Ngo), as well as her intentions to leave her life on the stage. Producer Feldzeig (Blake London) is not very happy about it, nor are two undercover gangsters (Dylan Burningham and Isaac Carrillo), who threaten the life of Feldzeig if he does not stop the wedding from happening. They come up with a plan to break up the happy couple, with help from a fancy European womanizer, Aldolpho (Brenton Ferrell), and the innocent bride’s alcoholic “drowsy” chaperone (Casey Matern). All the while, an annoying ditzy friend of Feldzeig, Kitty (Mattie Curtis), is trying to prove to Feldzeig she can make it as a leading lady, and the homeowner, Mrs. Tottendale (Amanda VanDenakker) is preparing Janet’s wedding while hiding her love for her butler (Ben Nordby). Robert’s best man, George (Matt Oviatt), has good intentions as he tries to keep everything in line as it is all falling apart, but in the end, a random aviatrix, Trix (Alanna Cottam) shows up and solves everyone’s problems. If it sounds like a confusing plot, rest assured, it absolutely is, but that’s part of the fun.
I love shows with many lead characters, especially shows so perfectly cast as this one. Each cast member brings out the unique personality of their character perfectly, even during group numbers. Speaking of group numbers, I loved the simple choreography, because though it was simple, it was performed incredibly well. I much prefer simple choreography done well than difficult choreography done poorly. Kudos to Choreographer April Kimball Thomas for sticking to the 1920s dance themes, such as the Charleston, and allowing the leads to bring their characters into each aspect of their performance. Every single performer sings beautifully, with personality, and with the style the show requires. For example, the chaperone is supposed to be a 1920s diva, and her song “As We Stumble Along” allows her to show off the diva voice she has been graced with. Musical Director Terisha Foster does an amazing job training her singers to perform the way they should to bring out their characters’ personalities and likewise stick to the 1920s musical genre. I also appreciate the use of appropriate vintage costumes that allow the audience to feel as though they are the audience of a hilarious 1920s comedy musical (Alaina Laukka, Madi Dial, and Molly Lukka).
Though the set and props are quite simplistic, they are just enough to get the job done right and allow the performances to be the stars of the show (Chris Peck, Tech Guru; Kenneth McCormack, Set Designer). I especially enjoyed the utilization of lighting to switch between the Man in Chair’s home and the imaginary stage. It really allows the audience to imagine the man pausing the record to explain aspects of the performance, and for our attention to be on him rather than the imaginary stage for a time.
Director Kristie Post Wallace mentions in the program this is her favorite musical ever, and I will honestly say, this wonderful performance has made it one of mine too. Make time in the next two weeks to stop by the Midvale Performing Arts Center because you need to see this performance. Despite having lived in New York and seen many Broadway shows before, this small community theater performance is by far one of the most talented, fun, and enjoyable performances I have ever had the opportunity to attend. I may go see it again, just because I enjoyed it that much. As a word of warning to families who may want to attend, there are some sexual innuendos, but nothing graphic at all, and nothing a child would catch on to. The parents will definitely catch on and laugh at them, though. As it says in The Drowsy Chaperone, it will “take you to another world, and it gives you a tune to carry with you in your head when you’re feeling blue.”
Midvale Arts Council presents The Drowsy Chaperone, book by Bob Martin and Don McKellar and music and lyrics by Lisa Lambert and Greg Morrison
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Midvale Performing Arts Center, 695 West Center Street (7720 South), Midvale, UT 84047
June 8-9, 11, 14-16 7:30 PM, and 2:00 PM matinee on Saturdays
Tickets: $8-10
Contact: 385-313-0278
Midvale Arts Facebook Page
The Drowsy Chaperone Facebook event
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