Thoroughly Modern Millie

Set in New York in 1922, a thoroughly modern ‘Millie Dillmount’ provides a great tale of a young woman’s journey of self discovery and finding her own way in a radically changing world, hoping for a more modern life than most girls’ dream of. Her grand plan is to find a job as a secretary for a wealthy man and then marry him but ends up falling in love with a man who instead appears penniless.

KODS ‘Millie’ played by Attiye Partridge is brimming with talent; acting, singing and dancing as she  captured the spirit of a girl looking to enter the 20s with a new style.  Musical numbers throughout were performed with power and ease.

First to support her on her way is man about town ‘Jimmy Smith’ (Ryan Donnell) who helps her find accommodation at the dubious Hotel Priscilla. Ryan also sang well and their 2nd act duets and the scene on the window ledge were highlights in their fluctuating relationship.

The Hotel Priscilla is run by the mysterious and sinister ‘Mrs. Meers’, a former actor who now works for a white slavery ring. Jill Parmenter was excellent, capturing the theatrical and sinister elements of the role with great style and wit. Her two accomplices ‘Ching Ho’ (Tom Farley) and ‘Bun Foo’ (Chris Paine) gave great support, with Farley handling the Chinese dialogue particularly well.

Millie finds friendship with ‘Dorothy Brown’ played by Emily Preece, who gave us an excellent performance in both acting and some powerful singing.  Seeking out Society’s most eligible bachelors, Millie finds work at Sincere Trust run by ‘Trevor Graydon’ played with great presence by Tom Paine and their number ‘The Speed Test’ was impressive. Melanie Greenfield as Graydon’s overbearing chief of staff ‘Miss Flannery’ provided good support and Salli Hunt as ‘Muzzy Van Hossmere’, gave a confident performance as the famous Broadway party host and singer.

There was some well paced choreography including vibrant tap numbers, which the dancing friends of ‘Millie’ executed well. The chorus were also well rehearsed and the whole cast were particularly well dressed, although a couple of the men with braces and dress shoes would have added icing to that cake.

I must applaud the orchestra and musical direction; supporting the cast throughout and never overpowering. With one small exception the set lighting and sound was well handled completing a very accomplished production by Pat Scully.

Thank you for your warm welcome and I look forward very much to ‘Brassed Off’ in September and ‘Made in Dagenham’ in 2019.

 

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