The Drowsy Chaperone

St Dunstan’s AODS production of The Drowsy Chaperone embraces the joyful absurdity of musical theatre with warmth, humour and affection for the genre. Originally created as a short musical performed at a wedding celebration for writers Bob Martin and Don McKellar, the show eventually evolved into a full-scale Broadway production. It is a parody of 1920s musicals and a celebration of friendship. The story follows the ‘Man in Chair’, a lonely theatre lover who plays his favourite cast recording of a fictional musical 'The Drowsy Chaperone', causing the musical to unfold around him in his apartment. What follows is a delightfully chaotic tale of mistaken identities, wedding disasters, gangsters disguised as pastry chefs, showgirls, romance and mayhem.
St Dunstan’s AODS clearly understood the heart of the piece. This is a show that works best when performers fully commit to its silliness, and many moments throughout the evening captured that spirit.

One of the strongest elements of the production was the transitions between the apartment and the musical world itself. Watching ‘Man in Chair' played by Phillip Brady physically move set pieces while verbally setting the scene helped maintain momentum and reinforced the idea that the audience was stepping directly into his imagination. He brought life to quieter moments as he visibly revelled in his favourite parts of the show. Although there were occasional accent slips and stumbled lines, his warm smile and natural affection for the material made him feel like an inviting guide through the evening.
The comedic timing across the production had mixed success. Some scenes landed very well, particularly when the ensemble leaned fully into the chaos and absurdity. George played by Phil Callaghan was a great lead into this with his anxious side-character energy,
while the gangsters brought strong physical comedy. Adam Cornett as Gangster Number Two, stood out thanks to his exaggerated angry-chef facial expressions and stiff yet goofy physicality, which suited the role perfectly and made even smaller moments memorable.

Becky Woolstencroft also brought strong comic support as Kitty, successfully heightening the frustration of her increasingly fed-up husband Feldzieg, played by Stuart Eade. Their dynamic worked well together, even if Feldzieg himself occasionally lacked the energetic
exasperation the role thrives on, with some lines becoming slightly mumbled rather than sharply frustrated.
Another memorable addition to the production came from Phil Harrison as Aldolpho who had a charismatic stage presence and confident delivery. His iconic musical number was performed with great flair, and each verse brought a fresh surprise that kept the audience
engaged throughout. Harrison clearly understood the exaggerated charm of the character and leaned fully into the role’s theatrical absurdity. His performance was thoroughly enjoyable to watch, and it will be exciting to see what he takes on next.
The standout performance of the evening came from Vicki Clarkson as the Drowsy Chaperone herself. Her raspy, golden-age musical theatre tone immediately suited the role, and she carried herself with a captivating stage presence that was consistently easy to watch. There was a comfort and confidence in her performance that elevated every scene she appeared in, and her applause was thoroughly deserved.

Trix’s number performed by Stasha Ngambi also brought a welcome burst of energy and powerful vocals which proved one of the most engaging musical moments of the night, reinforcing the idea that there are truly “no small parts”.
Visually, the production had some imaginative ideas but occasionally lacked the glamour associated with the world of the show. The sketched 1928 backdrop effectively created a blank canvas onto which pieces of scenery were added, however, the stage often felt too bare, making it difficult at times to fully understand the intended setting, particularly as a lavish wedding venue. More glamorous details such as fuller decoration or even striking chandeliers could have strengthened the atmosphere considerably.
The choreography similarly had enjoyable moments but did not always feel fully developed. The roller-skating sequence made excellent use of the space, particularly impressive considering the performers maintained their vocals throughout.
However, other routines relied on fairly simple patterns, with repeated circular formations becoming noticeable. The “stuck record” concept also felt like a missed comedic opportunity that could have been explored more creatively.
From a technical perspective, the lighting design by Phil Nicholls handled warmer emotional moments effectively, though overall it could have taken greater visual risks. Sound proved more problematic. While the intention behind the crackling record-player static fit the concept of the show, it occasionally muddied dialogue and muffled vocals. Some singing was lost beneath the balance of the band, and there were a few noticeable late microphone entrances and moments of unnecessary white noise caused by microphones remaining live offstage.
The finale is written as a joyful resolution in which every character receives their happy ending, allowing the Man in Chair one last wistful moment to fully lose himself in the fantasy before returning to reality, however in this moment much of the ensemble appeared to
disengage too early. While a small number of performers continued to play the excitement and optimism of the moment, many made it feel as though the performance had already concluded. As a result, the energy noticeably dropped during what should have been one of the production’s most uplifting and emotionally satisfying moments.
Ultimately, St Dunstan’s The Drowsy Chaperone was a charming and enjoyable evening of theatre. The production succeeded where it mattered most: it captured the affection and joy embedded in the writing. Its warmth, humour and clear love for musical theatre made it a family-friendly show that I would happily watch again.

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