Posted on Thursday, August 6 2009
by Bob Curtright
Wichita Eagle Correspondent
For anyone who loves theater, “The Drowsy Chaperone” just may the most perfect musical because it’s a loving spoof of all of them. It’s “Everymusical” with a delicious wit, a glorious sense of music and a wide-open heart that pleads its case that musicals were invented precisely “to take us away from the dreary horrors of the real world.”
Music Theatre of Wichita’s version didn’t quite make it far enough away from reality opening night Wednesday, with technical glitches that made for some ragged pacing – misplaced prop delaying one actor’s entrance, costume change delaying another, lowered drop catching on scenery, etc. But it’s the sort of easily correctible stuff that won’t happen during the rest of the run.
Best of all, none of the glitches kept the show from working its nostalgic, feel-good magic. The audience was howling with laughter time after time, from silly puns to slapstick shtick to ridiculously overdone (on purpose) characters that showcased and spoofed the 1920s. But the ultimate goal is to spark an exquisite awareness about the value to our psyches and souls of what bean-counters dismiss as fluff, and it succeeds magnificently.
The show unfolds in the drab apartment of an eccentric loner – called simply Man in Chair – who puts on a record album (“Yes, record,” he sniffs defiantly) of a fictional 1928 Broadway musical called “The Drowsy Chaperone” and watches as it comes to gaudy, glittering life all around him.
Wayne Bryan, MTW’s longtime producing artistic director, steps onstage in a rare local appearance and makes the role his own so seamlessly that many people will think he’s just playing himself. In a way, he is because he shares his character’s passion for musical theater and extensive knowledge of its history, trivia and gossip without sharing the darker quirks. Bryan is, by turns, enthusiastic, persnickety, opinionated, somewhat superior, somewhat defensive, but very, very charming.
The conceit of the show is that when the record is playing, the musical is underway. Action freezes in midstep when the needle is lifted and jerkily repeats when the needle sticks. Directed and choreographed by Casey Hushion (assistant director on the Broadway original), this production is often a fast-paced delight full of surprises, from tap-dancing to roller skating to even a little plate spinning, straitjacket escaping and ventriloquism.
The songs by Lisa Lambert and Greg Morrison sound absolutely jazz-era but with wonderfully silly lyrics that reveal the affectionate spoof, such as “I Don’t Want to Show Off (No More),” “I’m An Accident Waiting to Happen” and “Love is Always Lovely in the End.”
Andrea Chamberlain, who understudied on Broadway and starred in the national tour, recreated her role as perky 1920s starlet Janet Van De Graaff, who is giving up her career to marry a rich, handsome playboy, Robert Martin, played by MTW ensemble member Johnny Stellard. They are a thrilling, well-matched pair for beautiful romantic ballads. They also wowed us with dance: She for high kicks and splits and he for tap.
Tracy Lore was marvelous as the aging, egotistical but still sexy femme fatale, Beatrice Stockwell, as the chaperone of the title. Her full-throated anthem, “As We Stumble Along,” could make people in the balcony snap to attention. Danny Bolero was roll-on-the-floor funny as dim-witted aging lothario Adolpho, who is determined to seduce somebody during the course of the show.
Kathel Carlson and Kilty Reidy played a sort of George Burns/Gracie Allen pair as wealthy but scattered social doyenne Mrs. Tottendale and her faithful, long-suffering but acid-tongued butler, Underling. Kansas City actress Betti O. made a brief but musically robust appearance for the rousing finale as Trix, an aviatrix. Local actor Timothy W. Robu was lovably gruff and blustery as Feldzieg, a producer desperate to sabotage the starlet’s wedding to keep her from leaving his show.
MTW ensemble members who made individual splashes include Emily Mechler as the not-so-dumb blonde showgirl, Kitty, and Tyler Foy as the forgetful best man, George. And frequently stealing the show were Aaron Umsted and Ryan Koss as a pair of gawky gangsters disguised as pastry chefs. Their shameless mugging, coordinated gestures, unison walking and groaner puns could break up the most dedicated curmudgeon.
