Company Carolina's "The Drowsy Chaperone"
Thursday, 9:00 p.m.
4 1/2 Stars
(Note: This review was based on a dress rehearsal of the production.)
It is rare for musicals to break the fourth wall for anything more than a quick gag or jarring joke. However, Company Carolina managed to completely demolish it Thursday night – with spectacular and hilarious results.
The production was none other than Martin and McKellar’s “The Drowsy Chaperone,” performed with all its garish extravagance on the modest stage of Historic Playmakers Theatre.
The show revolves around a crotchety recluse known simply as Man in Chair (Andrew Jones) as he draws the audience into the gaudy world of 1920s show tunes by playing an old, live recording of a musical called The Drowsy Chaperone.
As the Man in Chair speaks to the audience about the play’s history, actors and music from his small apartment on the stage apron, the show bursts into life, reviving a long lost era of camp and gaiety.
The recording the man presents centers on a theatrical wedding, carried out by an emphatic ensemble of endearing characters. From the betrothed Broadway star Janet Van De Graaff (Harper Cleland) to the two gangsters posing as pastry chefs (Simon Wolf/Lea Kokenes) to the self-proclaimed Latin American lover Aldolpho (Will Foos), each character brought a unique blend of comedy and showmanship to the performance.
Jones’ performance as the Man in Chair was invigorating, effectively combining the roles of narrator, MC and stand-up comic within the persona of a pedantic old loner. His intrusive insights not only highlighted the play-within-a-play motif, but gave additional flavor to each scene by examining every member of the ensemble as both an actor and character.
Of course, the play’s titular role of The Drowsy Chaperone, played by Shannon Gallagher, was also a massive highlight. Gallagher expertly captured the airs of an aging Broadway starlet while demanding constant attention from the audience as the frivolous, perpetually inebriated chaperone.
The cast member’s flair and lighthearted dynamic made every performer a spectacle and the character interactions wonderfully amusing. The performance flowed between scenes, songs and the Man in Chair’s frequent factoids without seeming disjointed or in any way unbalanced. Director Kelly Hynek deserves special mention for her flawless coordination of individual talent and the greater theatrical experience.
What truly helped cement all pieces of the production together was the phenomenal backstage orchestra conducted by Peter Carter. Though important for most musicals, the band really gave this particular performance its old-school, theatrical feel. Each time the Man in Chair would drop the needle on his record, the brass and woodwinds would pulse through the stage with a classic, big-band clarity that seemed to whisk the performers where they were going.
Music director Matt Herman also deserves special mention for his superb management of the vocal performances. Songs like Gallagher’s “As we Stumble Along” and its reprise later in the production were as breathtaking as they were hilarious. The voices all blended well with the music, making sure nothing was drowned out in the louder, more exuberant scenes.
Samantha Hawkins and Akilah Williams, the show’s choreographers, organized all the dance routines one would expect from a classic musical with a finely polished rhythm. Giant tap dancing numbers performed by soon to be married oil tycoon Robert Martin (Zack Cook) and his best man George (James Scalise) somehow managed to look impossible and effortless at the same time.
The costuming and overall set design felt equally professional and well developed. Despite the size of the stage, the lavish attire and ornate set pieces were able to transport the audience from the comedic wedding to the Man in Chair’s apartment to their own seats – all in seamless succession.
What captures the imagination about this show is that it is a giant joke on musical theater by people who genuinely love it. In that respect, and in many others, Company Carolina’s performance of The Drowsy Chaperone came off nearly perfect. For those wanting to explore what musical theater is, as well as those who consider themselves well versed – the show presents a truly self-reflexive look at the genre with all the pomp and farce one could ask for.
arts@dailytarheel.com
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