Chasing Away the Blues

The Drowsy Chaperone

Renowned for its loving and affectionate satire of the theatre, fast-paced comedy, screwball characters, rousing musical numbers and exciting and original choreography, THE DROWSY CHAPERONE is the quintessential show for a delightful evening in the theatre. Now, this musical may not be familiar to every theatergoer. But for those of us who are musical theatre fanatics, or aficionados of full-tilt comedies, this clever show-within-a-show is a not-to-be-missed hit for the Spring season!

After the houselights dim, we hear a voice pierce the darkness that envelopes us. “I hate theatre,” the unseen guy complains. This Man is going to be our guide and narrator for the evening of joyous, light-hearted entertainment that lies ahead. He’s simply named The Man in the Chair, and tonight the poor fella is “feeling blue.” To raise his spirits and chase the blues away, he asks if he can share with us the original cast recording of his favorite Broadway musical. It’s a forgotten classic from 1928 entitled, “THE DROWSY CHAPERONE”.

The unnamed man confides that his prayer at every musical he attends, while sitting in a theatre before the lights go up, is that the show be short and that the actors stay out of the aisles. We all laugh knowingly because most of us have been at a musical where the fourth wall is broken and the theatergoers are asked to clap, sing along or even come up onto the stage. Our narrator’s feeling is, “Hey, I paid YOU to entertain ME!”

Every opportunity for broad comedy and slapstick is mined from this witty 2006 Tony Award-winning show, written by Bob Martin & Don McKellar, with a catchy score by Lisa Lambert & Greg Morrison. The show is a salute to the Broadway musical and the countless fans who adore them. Unexpected problems constantly keep this cliched story fresh. For instance, at one point all the lights go out when a fuse blows in the apartment. In another faux pas, the actors begin repeating their lyrics and dance steps over and over when the record that the Man in the Chair is playing begins to skip. Such clever comic bits pop up all the time!

The Man is portrayed with folksy finesse, restrained camp and precise comic timing by talented veteran actor, Steve McDonagh (ANYTHING GOES, Porchlight; COMEDY OF ERRORS, Chicago Shakespeare; THE PRODUCERS, Music Theater Works). Except for his potty break at intermission, Steve never leaves the stage. From his first words we know we’re in good hands and about to be treated to an evening of frivolous fun. Steve reminds the audience of the magical spell that happens while listening to a vinyl recording. He reminds us that the mesmerizing static sound that comes, just before the music begins, says to us, “Listen…here it comes.” And those of us who grew up with vinyl records understand and laugh.

Then the Man in the Chair introduces the musical’s simple plot while eloquently providing some hilarious trivia and gossipy chitchat about the actors in this Prohibition Era pastiche. The Man’s humble apartment instantly becomes the musical’s lavish setting (cleverly designed by Jeff Award-winning scenic designer, Bob Knuth), the posh mansion of wealthy widow and sparklingly scatterbrained Mrs. Tottendale. The eternally elated woman is played by the gifted Jenny Rudnick (A LITTLE NIGHT MUSIC, Theo; CAROUSEL, Music Theater Works). She’s waited on by her unflappable butler, Underling, staunchly portrayed by Peter Ruger (A LITTLE NIGHT MUSIC, Theo; ANNIE, Music Theater Works). Before long, the spit takes commence.

As the wedding party and guests arrive the Man in the Chair introduces them to us. They include Robert Martin, the charismatic tap dancing bridegroom. Robert is a grinning, gregarious matinee idol, played with panache by handsome Trey Plutnicki (THE LITTLE MERMAID, Drury Lane; TWIHARD, Otherworld Theater). Next we meet beautiful Broadway star, the “Oops Girl,” Janet Van de Graaff. In her outstanding Theo Ubique debut, the lovely bride is portrayed with gusto and genius by the multitalented Kelsey MacDonald (ANYTHING GOES, Porchlight; THE PRODUCERS, Mercury Theater). The titular role of the divine, half-drunk diva, the Drowsy Chaperone herself, is inhabited by one of Chicago’s favorite and most gifted musical theatre stars: Colette Todd (A LITTLE NIGHT MUSIC; DIANA, THE MUSICAL; ASPECTS OF LOVE, all at Theo). Ms. Todd’s rousing rendition of the show’s anthem, “As We Stumble Along,” is alone worth the price of admission.

The wedding guests are comprised of a congregation of talented triple-threats. George, Robert’s nervous, tap-dancing Best Man, is played with perkiness and pizzazz by Kevin Chlapecka (URINETOWN, Theo; THE HOBBIT, Young People’s Theatre). As Janet’s overbearing and obnoxiously insecure producer, Mr. Feldzeig is played with style and sass by Reginald Hemphill (URINETOWN, Theo; THE MOUSETRAP, Citadel). His date is Kitty, a ditzy and determined star wanna-be, portrayed by talented Luiza Vitucci (TELL ME ON A SUNDAY; THE THREEPENNY OPERA, Theo). Aldolpho, a popular romantic Latin lothario of the silver screen, is performed perfectly with boundless energy by Darian Goulding (TITANIC; CHARLIE AND THE CHOCOLATE FACTORY, both at Marriott), now in his Theo debut.

Along come a pair of dancing, fast-talking Gangsters, who are disguised as pastry chefs. They spend the show trying to disrupt the wedding. They’re played with enthusiasm by Jimmy Hogan (who is a Music Theater Works star, with credits like AVENUE Q, LITTLE SHOP OF HORRORS and WHITE CHRISTMAS) and Chase Wheaton-Werle (IT’S A WONDERFUL LIFE, Oil Lamp Theater; DISASTER, Big Noise). These two talented actors bring plenty of mirth and merriment to every scene. And last, but definitely not least, a celebrity aviatrix lands her airplane at the wedding, just in time to save the day. Her name is Trix, and she’s portrayed with charm and confidence by Lena Simone in her Theo debut (A NEW BRAIN, PrideArts; TWIHARD, Otherworld Theater).

Walter Stearns just happens to be one of the most talented, thoughtful and creative directors of musical theater in Chicago. He brings this production to life, making the show an immersive experience. Most of the audience is seated in comfy couches around the perimeter of the playing area. It’s as if we’re in the Man’s apartment with him. Walter leads and stages his entire cast to break that pesky fourth wall and play directly to each audience member. Mr. Stearns’ guidance is enhanced by gifted choreographer, Jenna Schoppe. The backstage band, comprised of piano, percussion, reed and trumpet, is lovingly led by Chicago’s matchless maestro and musical director, Eugene Dizon. The production features dazzling lighting, designed with care by Ellie Fey, and Anna Jackson has designed all the appropriate and authentic sound effects. Lastly, Nick Cochran and Mark Park have both outdone themselves with their magnificent, sparkling period costume and wig & makeup designs.This is one lavish production!

I think we can all agree with the Man in the Chair that “the dreary horrors of the real world” seem to continually intrude into our lives. It’s really becoming increasingly difficult to chase away the blues, what with the frightening news that bombards us every day. But THE DROWSY CHAPERONE is an instant cure, a tonic that promises to send our troubles away… at least for a couple of hours. As a love letter to the genre of musical theatre, this production provides its joy and pleasure through a clever, fictional, show-within-a-show. Thanks to director Walter Stearns and his magnificent cast and crew, Theo Ubique can promise audiences an enjoyable and refreshing respite from the blues.

Highly Recommended

Reviewed by Colin Douglas

Presented March 6-April 19 by Theo Ubique Cabaret Theatre in the newly named Fred Anzevino Theatre, 721 Howard Street, Evanston, IL.

Tickets are available in person at the box office, by calling 800-595-4849 or by going to www.Theo-u.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.