The Drowsy Chaperone

The Drowsy Chaperone was a show I don’t think many theatregoers would have heard of – me included, although it received many awards world-wide. It started life in Toronto in the mid 90’s and what I was going to experience was a crazy, funny, all singing, all dancing spectacle. This fictional 1920’s show follows the chaotic exploits of a hesitant couple, an inept best man, a frantic producer, gangsters, a clueless chorus girl, a confused Latin lover, and the chaperone.

The set had been cleverly arranged with, to one side, the living area/kitchenette of our narrator known only as the Man in Chair. The rest of the open stage is ready for the musical numbers and purporting to be the house of Mrs. Tottendale. Lighting was all important and Harvey Ebbage’s design worked really well but just as important was the music, both had to be so precise. Hatty Philips was the M.D but S.A. Events sound and backing tracks made the whole come together. I applaud props and wardrobe, numerous in number but all superb. Adele Ebbage’s choreography significantly contributed to the performance, offering an impressive array from tap dancing to roller skating. I loved the crazy opening of Act 2 when the wrong record was being played and we were seeing a Chinese festival complete with dragon.

The first words we hear from a darkened stage was “I Hate Theatre.”  The Man In Chair, our narrator, was a lonely man who collected show records and his favourite was The Drowsy Chaperone, which he then put on his record player. From his imagining we were then transported to the 1920s and Mrs. Tottendale’s house to see the story unfold through his eyes.  Liam Clarke’s portrayal of Man in Chair was exceptional, his subtle performance balanced humour with poignant emotion. Mrs Tottendale, wonderfully played by Ami Culver, who, along with her unflappable and long-suffering manservant, Underling, (Francis Eames) and a chorus of maids and attendants, gets caught up in the excitement of a wedding she is hosting but never truly understands what’s going on. The society wedding is that of Broadway star Janet Van De Graaf played by Hollie Evans – what an all-round performer she is and her groom Robert Martin (Dean Garnham). Good on-stage chemistry between the two and I wonder how long it took him to learn the roller-skating routine!  His best man is George (Sean McDowell) another good all-round performer. In danger of losing his leading lady, broadway producer Feldzieg (James Klech) hires two gangsters (George Fever and Matt Hall) disguised as pastry chefs to try and stop the wedding. Feldzieg has brought with  him a chorus girl Kitty – lovely characterisation of a ditzy blonde by Iris Constant – who wants to be Janet’s replacement. The comic leading man, Adolpho, is portrayed with humour by Conor Rooney, who confidently charms any woman within his vicinity. His every appearance ensures laughter. Janet’s chaperone, Lelia Di Domenico was superb. Her singing and facial expressions to portray her ‘drowsiness’ from drinking alcohol (during an era of prohibition) was impeccable. Trix the aviatrix (Olivia Jones) saves the day by being able to marry the loving couples. Last but not least, what a lovely little cameo part for Joey Chan as the Superintendent saving the day when the Man In Chair’s apartment has a power cut.

The principals, along with the cast and dancers, must have had such fun with this challenging, madcap show. Director Adele Ebbage delivered another entertaining night at the theatre.  

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