The emotion behind them is real even when they’re lyrically ridiculous – “Bride’s Lament” and “Love is Always Lovely in the End,” for instance. The musical numbers are engaging and energetic from both musical and performance standpoints. I didn’t realize how much I missed it until I saw Rice and Cam Burchard, who plays George, tap dance their way through “Cold Feets.” It has been a while since I’ve seen a musical with tap dancing. Two gangsters (Elijah Munck as Gangster #1 and Luke Desmond as Gangster #2) are disguised as pastry chefs and possess a never-ending supply of baked good puns. There is a lot to love about The Drowsy Chaperone. By acknowledging the stock characters, the contrived plot, and the lowbrow humor intended as filler upfront, the show gives the audience license to sit back and unapologetically enjoy the spectacle in front of us. The Man In Chair’s running commentary skewering The Drowsy Chaperone’s (intentionally built-in) flaws is necessary because a throwback show as it played straight today wouldn’t fly. As the Man In Chair listens to the record and provides commentary, he brings this screwball, Jazz Age comedy about the wedding day of oil tycoon Robert Martin (Logan Rice) and Broadway star Janet Van de Graaff (Rezia Landers) and the misadventures they and their attendees get into to life. To cheer himself up, he plays the cast recording of his favorite musical, The Drowsy Chaperone. He’s a fourth-wall-breaking theater fan and, in his words, is feeling blue. It starts with Man In Chair (Adam Milana Castrillón). Cold, rainy, and windy as it was outside, everything was red hot on stage. It was a dark and stormy night, but I ventured forth to the Lyceum Theater to see The Drowsy Chaperone. (photo credit: vanguard uni) Written by Daniella Litvak
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |