Thoroughly Modern Millie

The opening to this very entertaining musical is fairly unusual in that there is just one person on stage and therefore no big strong chorus number to get the audience in the mood.  The task fell to Dawn Stephens  -  and she was first class. She continued with a captivating performance as Millie, a Kansas girl come to make a new life in New York, and her energy was boundless. Millie and The Moderns followed up with the title song and the show was off to a roaring start.

Nic Main gave a strong performance as Jimmy Smith; at the start a brash, typical New Yorker but as the relationship changed he softened and his charm shone through.

In the role of Mrs Meers (surely one of the best character parts ever!), Christine Siddall was wonderfully creepy. The two sides of her character were well defined – outwardly helpful to the girls but also running a slave trade - and her Chinese accent was good. She brought out the comedy extremely well.

The innocent Dorothy Brown was delightfully portrayed by Christine Elsom, and the relationship that developed between her and Ching Ho was a very touching one to watch. Her singing was good and the ‘Sweet Mystery’ duet was especially enjoyable.

I also loved the song from ‘Ruddigore’ sung at an amazing speed by Neil Gibson as Millie’s boss Trevor Graydon.  He gave a very good performance as the single-minded businessman who completely missed all signals that Millie was giving out. Martin and Gareth Brown had fun with their roles of Ching Ho and Bun Foo respectively and their rendition of ‘Mammy’ was great. Sue was excellent as the glamourous Muzzy van Hossmere. As the bossy, protective and two-faced office manager Miss Flannery, Michelle Friend was not a woman to be questioned! She played the part impressively.

This is a musical packed with dance routines and they were super. Graham Mccarron Wright got the very best out of all of the ladies on stage, whether dancers or not. They had clearly worked incredibly hard to perform as one. The choreography in ’Falling in Love’ was delightful. I very much enjoyed the tapping/typing number whilst at desks and also the floor show at the Café Society.  In the latter the costumes were wonderfully glitzy. In the former the office outfits were very smart indeed. I don’t believe black stockings were worn at that time - but I do understand the need for uniformity!

There was expression and emotion in abundance throughout the show. Just one small point is that Nic became so involved in his song when on the ledge that he appeared to have forgotten his precarious position - but perhaps that what love can do!

The backstage crew worked efficiently and quietly when changing the scenery and I liked the way that Ching Ho and Bun Foo were involved in that action. 

Furniture and properties were good - the red fly sprays were classic!

Both the lighting and sound provided by the staff at the theatre were good.

The back cloths set the scenes nicely, as did the Hotel Priscilla with its reception desk and doors to the girls' rooms, and the simple jail, with the line-up for the mug shots, afforded some individual portrayals.

There is an enormous amount of comedy in this musical and everyone worked together to bring it out – timing was impeccable.

Musical Director Isabella Stocchetti did a splendid job with her seven strong band and at no time was it difficult to hear the vocals – which is always a treat!

Sue’s direction was faultless and along with the choreography made for a visually pleasing and exciting production.

My congratulations to everyone involved in the show. The principals were commendable and the supporting company, named or un-named characters, gave them tremendous support.

Your programme is eye catching and contains all the necessary information, plus the quiz and facts which are a nice touch.     

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