The Drowsy Chaperone: Seriously successful spoof

It is more than 15 years since friends celebrated the engagement of Bob and Janet in Toronto by putting together a collection of songs, entitled The Wedding Gift.

From this small beginning, the entertainment, now called The Drowsy Chaperone, evolved into a popular show at the Toronto Fringe, then on to larger houses in Toronto courtesy of top Toronto producer David Mirvish, until it became a Tony-award winner on Broadway with numerous productions in London’s West End, Los Angeles, Australia and Japan, not to mention touring across Canada.

Some might say there is more of a story behind The Drowsy Chaperone — a tale akin to the understudy who becomes a star overnight — than to the intentionally slight fictional plot. Certainly, the names of the bride and groom in the show are reminders of its origins and certainly it does exactly what it sets out to do: celebrate the genre while gently spoofing the musicals of the 1920s.

In the past, The Drowsy Chaperone, has run without intermission. While, at its current length, this would be hard on the audience, the first act is too long and drags towards the close. (However, it is difficult to see a better point to break the action.)

The original show did not include the man in the chair/narrator and that addition has created another dimension to contrast with the fluff and deliver some of the lines that many audience members are thinking, in reference to the use of cellphones and theatrical trends, for example.

As presented in the Orpheus Musical Theatre Society production, directed with his usual precision by Michael Gareau, Wayne Nolan’s man in the chair becomes the show’s centrepiece and main architect. Nolan is funny and totally believable in his love of musicals and this musical in particular. He also connects with the audience in such a way that he turns the 1,000-seat auditorium into an intimate space.

There are strong performances from most of the cast, especially Andrea Black as the bride, as well as amusing interludes provided by the vaudeville couple, Mrs. Tottendale and Underling the butler (Christine Drew and Jim Robertson).

Maintaining the balance between truth and send-up is extremely difficult in a show of this type. However, with Gareau at the helm, John McGovern as musical director, Debbie Millett’s sparkling choreography and Cindy Bindhardt’s effective set design that fits the mood perfectly, the joy shines through, whether characters are playing it straight or going over the top.

And, as the man in the chair points out, the main goal of musical theatre is to entertain and transport you to another world for a little while. This is precisely what the Orpheus production of The Drowsy Chaperone does.

The Drowsy Chaperone continues at Centrepointe Theatre to March 17.

 

Book by Bob Martin and Don McKellar

Music and lyrics by Lisa Lambert and Greg Morrison

Orpheus Musical Theatre Society

 

Director:		Michael Gareau
Musical Director:		John McGovern
Choreographer(s)		Debbie Millett
Set:	Christy Bindhardt
Lighting:	David Magladry
Sound:	John Cybanski

Cast:

 

Man In Chair, The Narrator	Wayne Nolan
Mrs. Tottendale, The Hostess	Christine Drew
Underling, The Butler	Jim Robertson
Robert Martin, The Bridegroom	Kodi Cannon
George, The Best Man	Darren Bird
Feldzieg, The Producer	Sam Smith
Kitty, The Chorine	Christine Moran
Gangster # 1	Andrew Galligan
Gangster # 2	Bryan Jesmer
Aldolpho, The Lothario	Dennis Van Staalduinen
Janet Van De Graaff, The Bride	Andréa Black
The Drowsy Chaperone	Lesley Osborn
Trix, The Aviatrix	Mary Armstrong
The Superintendant	Alex Brunjes
Ensemble, Estate Staff, Reporters, Etc.	Mary Armstrong, France Bastien, Alex Brunjes, Samantha De Benedet, Danielle Denisko, Peter Doherty, Isabella Kondrat, Jacob Roberts, Dave Rowan, Jeremy Sanders, Lisa Wagner