Zach Scott Theatre seems to be on a roll lately, cranking out a stream of hit plays that likes of which few other companies in town can boast, but this leaves them with heightened expectations for each production. How they possibly top the excellence of productions like Our Town and Becky’s New Car? It helps when the piece is the winner of five Tonys, including ones for Best Book and Best Score. It also helps when you bring in one of the most talked about talents in the country, Nick Demos, who just recently won the Tony award for his production of Memphis on Broadway (which, itself, won numerous Tonys). These two elements alone are enough to get theater patrons drooling, but they only give you only a taste of the wonder and delight that is to come in Zach’s newest production, The Drowsy Chaperone.
Even before the lights come up on the first scene, we’re introduced to the enigmatic Man in the Chair, our guide for this toe-tapping adventure back in time, as he gives us all the ins and outs of his favorite musical, the Drowsy Chaperone. After a brief introduction, a flourish of horns sounds from the amazing little jazz band, led by Allen Robertson, and the audience is whisked away to the roaring 20s, when men were suave and handsome, women bold and seductive, and a romantic misunderstanding made for some very intense drama. The play is celebration of the work of such authors as Cole Porter and George and Ira Gershwin, whose plays all flitted along with an upbeat lightness, and which rarely featured the heavy the death, sexual perversity, or racism so prevalent in modern plays. It’s all a.jpg)
refreshing change of pace from the doom and gloom of most musicals today, proving that you don’t need unrequited love and elaborate death scenes to have a hit show on Broadway; sometimes you just need a triple airplane wedding!
The moment we meet Martin Burke, who plays the Man in the Chair, we’re instantly taken in by his charm and warmth. Burke is a whimsical ball of charisma, absolutely in love with this musical, and his admiration soon rubs off on us, especially as we’re introduced to all the lovely, kooky characters who call the Drowsy Chaperone home. The Man in the Chair is more than just our window to the world of theplay however, and Burke is able to create in this character a portrait of a complex man, who escapes a troubling life, including marital problems and a lack of understanding with the outside world, through his only remaining friend: his musical soundtracks. The sunnyness of Burke’s disposition for most of the play gives these moments of introspective sorrow more resonance, and he carries these contradictory feeling with wisdom and polish, taking us on an emotional journey, while never straying too far to the dark side.
When Jill Blackwood walks on to stage as Janet Van De Graaf, it’s difficult to take your eyes off ofher. Her stunning beauty is enough to take any breath away, especially in her first number, "Show Off", where skimpy costumes and suggestive dancing are sure to have gentlemen’s jaws hitting the floor.Blackwood shows she’s more than just a pretty face, however, showing off some serious singing chops. This will be nothing new to anyone who has seen Blackwood in the numerous musicals she performed in over the years, but here she’s takes it to a whole different level. She wows the audience .jpg)
with her range in nearly every number, culminating in one particularly bizarre number about monkeys and pedestals (which may just be one of the most memorable musical numbers you’ll see all year).
Also scoring major points this production is Meredith McCall as the titular chaperone, whose drunken escapades and hilarious penchant for belting out patriotic anthems are quite endearing. McCall’s apathy towards those around her makes for plenty of awkwardly funny moments, and while the rest of the cast is losing their heads, she simply sits back, with a smile on her face, happily “drowsy”, while shouting cliche platitudes and trying to win the heart of latin lethario Adolpho.
Other notable performances include Sean McGibbon’s George, whose stunning tap-dancing work in “Cold Feets” is nothing short of awe inspiring; Jamie Goodwin, who plays the womanizing European Adolpho with such boldness and over-the-top swagger that the laughs come even before he spouts a word; and the duo of Leslie R. Hethcox and Tyler Wallach, playing a pair of gangsters whose vaudevillian comedy will surely leave audience members in stitches. The cast of this production is huge, and each actor brings another element to the experience, but mentioning them all here would take pages, so to get the full picture on display here, you’re going to have to see the show for yourself.
The Drowsy Chaperone is a pleasant vacation from the death, decay, and destruction that permeates so much of theater today, and is a piece full of colorful characters, lavish and well-choreographed musical numbers, and plenty of plain fun. Demos, musical director Allen Robertson, and all the other talented folks involved in bringing this piece to life, have created a lively and vibrant experience, perfect.jpg)
for lovers of musicals old and new. The show is so warm and inviting, begging you to step inside and stay a while, that it should be a hit perfect for the whole family.
The Drowsy Chaperone is playing through August 1st at Zach Scott's Kleberg Stage. To purchase tickets, and find out more information about this and other productions, visit Zach's website at zachtheatre.org.
Photos courtesy of Kirk R. Tuck
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