Thoroughly Modern Millie

 

‘Thoroughly Modern Millie’ started life as a British musical named ‘Chrysanthemum’ and opened in London in 1956. It was made into a film in 1967 and then was presented on Broadway in 2002 where it ran for 903 performances. It has won six Tony Awards.

The opening scene revealed an excellent modern interpretation of the New York sky- line and the red back-lighting was most effective.

A show that opens with a soloist on stage is not very common - a rousing chorus number tends to get the audience on side from the beginning - but with Dawn Sainsbury playing the title role of Millie the musical was off to a brilliant start, and in modern parlance she ‘ticked all the boxes’ as the girl from Kansas looking for a better life in New York. She gave a faultless performance.

Playing Jimmy Smith, the young man who gradually becomes more to Millie than the stereotypical, impatient New Yorker, Jordan Bateson was strong in the role and his accent and acting were excellent in this his debut with SMTG.

Faith Powell excelled herself as Mrs Meers. She was sinister, her Chinese accent was very good and her timing spot on.

The role of Dorothy Brown certainly was a perfect one for Glenys, and not just because she was playing opposite her husband but because she has such a wonderfully benign expression with a smile that never fades. She was totally credible as the innocent, protected girl from a wealthy Mid-West background whose ambition was to find a rich husband. Her singing and acting were sound.

There were very good performances too from Ian Thomas and Robert Franck as the two Chinamen, Ching Ho and Bun Foo. Their well-sung song was hilarious and they brought much comedy to the roles.

Sue Tregoning made a very authoritative Miss Flannery and as the socialite Muzzy van Hossmere, Christina Best was first class.

I have not heard anyone sing a G &S patter song at the speed William Hann achieved and I thought it was a stroke of genius to include it for the speed typing scene. His every word could be heard in the song and he was secure in the role of the targeted, if rather slow on the uptake boss Trevor Graydon.

The opening of act two was notable and in fact the choreography throughout was super and very well - rehearsed and performed by not only the dancers but the whole cast. The window ledge song was good and ‘Sweet Mystery of Life’- another comic number and one in which Glenys and Ian Thomas had great fun.

Company numbers were strong with good movement and singing and the energy level never faltered. It came across as a show that everyone on stage was thoroughly enjoying.

The shady Priscilla Hotel -which fronted white slave trade to the East - was realistic with its reception area and the numerous bedroom doors, and in act two the Window Ledge scene was surprisingly convincing, both the set and the action. The lift was also very well done.  Properties were good and suitable for the era.  Scene changes were slick - and there were plenty of them!.  The lighting design was one of the best I’ve seen and the sound was good.

Jill did a magnificent job with the costumes – they were quite outstanding, from the day dresses to the fabulous evening dresses, and the orange and black office outfits were striking.

The production team of Lynne, Annelly and John worked hard together to bring a super show to the stage and they certainly succeeded. Congratulations to the three of them and also to everybody, both on and off stage, for their commitment to, and presentation of ‘Thoroughly Modern Millie’. It was a triumph!

E. Gloria Smith

NODA South East Regional Representative – District 12

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