The Drowsy Chaperone

Central Musical Theatre Company presented an entertaining production of The Drowsy Chaperone, a clever “musical within a comedy” that delighted audiences with its humour and heartfelt message.

The show follows the socially isolated ‘Man in the Chair’, who shares his favourite LP of a fictional 1928 musical, bringing its larger-than-life characters to life within his apartment. What unfolds is a humorous and affectionate tribute to classic American musical theatre, complete with mistaken identities, show-stopping numbers, tap dancing, roller skating, and a whirlwind wedding at its centre.

Directed by Abbi Burns and supported by production assistant Lynn Towle, the team delivered a thoughtful production, balancing the comedy with an underlying poignancy that made the Man in the Chair’s story feel especially relevant to modern audiences. It was pleasing to see the company taking creative risks with this choice of production, offering audiences something a little different.

Chris Banks delivered an outstanding performance as the Man in the Chair, confidently guiding the audience seamlessly between reality and fantasy whilst also capturing the character’s loneliness and love for musical theatre with sincerity.

Another talented member of the Banks family, Musical Director Jonty Banks, ensured a strong musical foundation throughout, with well rehearsed vocals and excellent projection from the cast. Conductor David Blackwell led a fabulous seven piece orchestra. This live accompaniment added greatly to the production’s overall atmosphere. The visible placement of the band on stage was a particularly effective touch, I loved it when the man in the chair pulled back the curtain for the reveal.

Choreography by Sharon Stringer was varied and well suited to the company, supporting the different styles within the show.

The principal cast delivered strong and memorable performances throughout. Sarah Towle, as Janet Van De Graaff, brought real star quality to the role, delivering a powerful vocal performance. Her rendition of “Show Off” was a particular highlight, full of surprises which she executed with confidence.

Chris Moss played Robert Martin, the groom, a confident performance and I was very impressed with his blindfolded roller-skating! Something I would have been terrified of! Gabryl Oleshko played George the best man and worked well alongside him, with the pair delivering an enjoyable tap routine during the number “Cold Feet.”

Lorna Kirkland’s Mrs Tottendale was a wonderfully flamboyant presence, matched nicely by John Wedgwood’s dry and understated Underling.

Adrian Redfern played Feldzeig well, he was suitably larger than life as the producer and Ellie Carter’s portrayal of Kitty was very funny as the aspiring leading lady.
The gangsters, played by Tim Hand and Bridget Wyatt worked well together, their comedic timing and disguise as pastry chefs adding to the farcical tone of the show.

Tony Luke stood out as Adolfo, delivering an entertaining performance with “I Am Adolfo”. Laura Bigland gave a consistently amusing portrayal of the Drowsy Chaperone, maintaining a tipsy presence throughout, always with a drink in hand.

Sarah Tiso lit up the stage as the pilot Trix the Aviatrix, Richard Symes played the Superintendent well and the ensemble of Kerry Bricknell, Chantel McLaren and Rachel Redfern supported the action effectively with lively contributions across multiple roles.

Production values were of a high standard. The set, designed and constructed by Chris Margett, who also took on the role of Stage Manager, was particularly impressive, with excellent attention to detail and inventive use of props and staging elements. I absolutely loved the refrigerator! Which was both creative and effective and I also loved the plane, very clever. The scenes transitioned smoothly throughout the production, keeping a good pace of the show.  

Costumes organised by Marion Fisher and her team were of good quality and enhanced each character. I particularly loved Janet’s costumes in the number “ Show Off”. The lighting helped to distinguish clearly between the real and imagined worlds and the sound was good.

It was lovely to receive a warm welcome from the front of house team and I enjoyed reading the very well-presented programme offering an insightful look at the company’s long history dating back to 1933.

Many congratulations to CMTC for an enjoyable production, we look forward to seeing Made in Dagenham in March 2027.

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