The Drowsy Chaperone
at St. Andrew's Episcopal School

Reviewed on February 22, 2015

Emma Somer
St. Stephen's and St. Agnes School
Submitted for publication to Washington Post - Montgomery

"You get taken into a new world," the Man in Chair, Cameron Mitchell, declares about musicals. This line, which closes Act I of St. Andrew's Episcopal School's production of The Drowsy Chaperone, embodies the musical itself, where the "new world" means booze, bright lights and cheerful tunes in the context of the play. The "new world" to the audience was the journey that this vibrant cast pulled off.

The Drowsy Chaperone, set in the 1920s during prohibition, depicts a world full of music, glamour, and electrifying colors. Told through the criticisms of the Man in Chair who plays a record, the play itself is a journey. When the record comes on, the stories of cynical characters unfold into one delightfully depicted musical. Jubilant spirits, over-the-top reactions, and drunken evenings were some of the few characteristics of musicals during the Roaring Twenties. This musical was created in 1997 in Canada and is a satire of over-the-top style musicals during the 1920s. Its Broadway launch was received with much praise, winning five Tony awards in 2006.

The small stage had a checkerboard floor and a projected background. Though simple, the characters took the center stage and shared their stories with the audience. The projection of voices should be commended even with some mishaps with technology. Microphones repeatedly turned off but that did not diminish the volume of the lines delivered to the audience. Although it was difficult to hear several soloists over the voices of many ensemble members, the sound of the ensemble resonated with euphony.

Some distinguishable leading and supporting roles should be commended for their singing including Amelia Heesen (Janet Van De Graaf) whose soft voice and fitting accent for the time period brought out her delicate yet romantic nature. Jordan Reilly, who played the Drowsy Chaperone, should also be noted since her over-the-top tipsiness was not only hilarious but strongly executed throughout her singing.

Dazzling, bright, and fancy costumes were definitely not lacking on the women. Janet's short and vibrant dresses were something to look at as well as her hair in the popular 1920s style "shingle cut." The makeup, overall, brought out facial features such as cheekbones, rosy cheeks, and beards seen on the gangsters. The overall appearance was, however, lacking on some men who had baggy over-sized costumes.

The choreographing matched the energy of the period. Big jumps, tap dancing, and twists and turns all kept the audience engaged. One notable dance number was highlighted by the hilariously played Aldolpho (Justin Harmon). Whether it was his chemistry and physicality with the Drowsy Chaperone or his overall charismatic performance, his dance number Aldolpho did not disappoint. One slightly disappointing aspect of the play was the lack of cohesiveness in the large dance numbers.

Although many characters had excellent stage presence and overall execution, there was no character who competed like the man who told the story himself, Man in Chair. Hilariously hilarious, Man in Chair was the foundation of this musical. He never broke character and his puns were correctly timed, captivating the audience when necessary. Man in Chair's subtle chuckles enabled the audience to feel a connection and almost friendship with this lonely stranger. In every scene, his presence was felt and only added to the absurdity and heartiness of the play.

With each character appearing scene after scene with the same charm and respectability in St. Andrew's performance of The Drowsy Chaperone, it is no shock that "it's better to have lived than to have left." This play and its characters will live on and continue to warm the hearts of many.

Nicole Gray
St. Stephen's and St. Agnes School
Submitted for publication to Washington Post - Montgomery

The overture begins and you find yourself entering the fictitious Rosco Theatre in New York City. It's a cold November night in 1928 and you are going to see a Broadway musical. At least, this is how the protagonist of The Drowsy Chaperone, known only as "Man in Chair", opens this musical for the audience. He sits alone on a flowery upholstered armchair and proceeds to play the record of his favorite Broadway musical, The Drowsy Chaperone, so that it may cure his "unspecified sadness". The audience is then whisked away into the world of a made-up Roaring 20's musical that harkens back to the true appeal of musical theater; its ability to remind its viewers of happier times through toe-tapping songs and feel-good morals.

The Drowsy Chaperone opened in 1998 in Toronto as an affectionate parody of musicals from the 1920's spanning up to the so-called "Golden Age of Musical Theatre" in the mid-twentieth century. This musical lampoons the absurdity of musicals by employing a cast of stock characters and placing them in situations not uncommon in musicals of the era. Including all the classic and much-loved shenanigans of musicals from mistaken identities, an unending parade of plot-twists, an introspective dream ballet, and loads of clever word-play, The Drowsy Chaperone remains a timeless show in itself due to its universality in the way it approaches everything from light-hearted teasing to passionate love.

Carrying the show as an undeniably flawed but nonetheless lovable narrator was senior, Cameron Mitchell, as ‘Man in Chair'. Even during dialogues that did not involve him directly, Mitchell remained completely engaged in his role that never once let him leave the stage. Using this ample stage time, he created an exceedingly believable musical theatre fan whose commentary on the music to which he listened alone in his apartment really transported the audience to a Prohibition-era estate within a made-up musical.

In the titular role of The Drowsy Chaperone, Jordan Riley played a tipsy maid of honor-turned-bride with an amiable charm and witty wisdom, often serving as a leader to the rest of the cast while onstage--even in her character's believably inebriated state. Equally as poised was junior Amelia Heesen in her role as Janet Van de Graaf, who never wavered in regard to the strong choices she made with her character like the period-appropriate voice she employed during both spoken and sung sections of the show. While some actors had difficulty maintaining their energy onstage and being understood by audience members, this was never a problem for Ashley Webb (Kitty) who brought an effervescent vivacity alongside her every time she walked onstage. She presented what was intended to be a ditzy character with impressive control and beautifully balanced immaturity with elegant stage presence, an area of difficulty for other members of the cast. This cast did excel in its ability to perform many physical stunts that kept the entire audience chuckling along even moments after the joke had ended— a testament to the comedic prowess and embracement of the absurdity of the show by the entire ensemble.

All-in-all, St. Andrew's School's production of The Drowsy Chaperone, proved to expertly engage audience members with new and exciting twists and gags around every corner while remaining a heartwarming adventure in story-telling techniques. The end result was a rollicking good time had by all and a perfect "little something for when you're feeling blue".

Elizabeth Coo
Westfield High School
Submitted for publication to Maryland Theatre Guide

The lights dim and anticipation fills the air. A voice cuts through the darkness. "It used to be, sitting in the dark, you knew that when the show began you'd be taken to another world. A world full of color and music and glamor. You thought to yourself, my God, when are they going to bring the lights up?" On cue, a spotlight illuminates the contrary speaker and St. Andrew's Episcopal School's production of The Drowsy Chaperone begins.

The Drowsy Chaperone is a musical comedy that parodies American musicals of the 1920's. It premiered on Broadway in May 2006 and was nominated for 13 Tony Awards, winning five. Set as a show within a show, the musical opens on an antisocial theatre fanatic who tries to listen to the recording of a fictional 1920's show, The Drowsy Chaperone, in order to rid himself of the blues.

The fictional recording itself focuses on the convoluted love story of Robert and Janet, who are engaged. Janet works for Feldzieg's Follies, but plans to give up her stage career when she marries. This causes gangsters to go after Feldzieg and insist that he stop the wedding in order to keep the show a financial success. As more characters become embroiled in the plot to break up the couple, hilarious mayhem filled with snappy puns, mistaken identities, and spit takes ensues.

Though the ensemble sometimes lacked energy, they came together in the end for a resounding number, down to the very last note, of "I Do, I Do in the Sky". Another highlight was "Toledo Surprise", where the cast showcased effective portrayals of stereotypical 1920's stock characters.

Cameron Mitchell as the omnipotent Man in Chair was the glue that held the show together. To portray the opinionated Broadway snob, Mitchell had to weave in and out of the fictional show, interrupting the fantasy with funny anecdotes and thoughtful ideas that gave the production a sweetness and depth it otherwise would have lacked. His frequent breaking of the fourth wall made the Man in Chair's desire to escape reality through the absurdity of musical theatre earnest and relatable.

Amelia Heesen shined as the Broadway starlet Janet Van De Graaf, especially in her shoe-tapping anthem "Show Off". From cartwheels and persistent reporters, to fake French accents and a complicated engagement, Heesen tackled the challenge of being loved and famous with comical grace and aplomb.

Another standout performer was Jordan Reilly, who brought a sarcastic edge to the purposefully drunken, or "Drowsy", Chaperone, especially seen in her dynamic with her charge and supposed best friend, Janet ("As We Stumble Along"). Her causticness also created an endearing contrast with the fanatic ravings of Mitchell as the Man in Chair.

Though at times the sound had microphone difficulties, the orchestra stayed consistent and complimented the actors onstage. With jaunty brass and string instruments, and one adorable ukulele solo, the orchestra maintained the lively mood of the show.

With a solidly committed cast, upbeat musical numbers, and feel-good satire, St. Andrew's Episcopal School's production of The Drowsy Chaperone "took you to another world, and gave you a little tune to carry in your head, for when you're feeling blue, you know?"

Lydia Gompper
George Mason High School
Submitted for publication to Patch.com - ARL/MC/Mont/DC

"I hate theatre," says a man to his audience, while lounging in a simple chair to the side of an empty stage. "Well, it's so disappointing, isn't it?"

Thus, ironically, begins St. Andrew's Episcopal School's production of the 1998 musical, "The Drowsy Chaperone," which first debuted in Toronto, Canada, before opening on Broadway in 2006. The show, a parodical take on the glitzy American productions of the 1920s, features a charmingly jaded theater fan, known to the audience only as "The Man in the Chair," who plays the soundtrack of his beloved old favorite, "The Drowsy Chaperone," while the show comes to life on center stage. St. Andrew's delivered with hilarity and glamour, creating a truly remarkable and memorable production.

The show's clear backbone was leading man Cameron Mitchell, as "The Man in the Chair" himself. Commentating in various monologues and dry one-liners throughout the show, Mitchell held all the necessary sparkle - mixed with just the right amount of cynicism - to make his character likable and relatable, humorous yet all too real. The Man, like so many theatre fans, uses the easy, lighthearted pizzazz of the musical to escape from his own life, where he struggles with the memories of his own failed marriage. Mitchell portrayed the different aspects of his character, from the obsessive fan to the borderline-depressed divorcé, excellently.

The musical-within-the-musical focused on the marriage between Janet Van De Graaf, a glamorous starlet performed by junior Amelia Heesen, and her husband-to-be Robert Martin, played by LJ Jackson. The two actors should both be proud of their impressive singing voices. Heesen's lovely soprano rang sweet and pure, a perfect fit for a 1920's romantic lead, while Jackson sang with strength and unusual richness. Heesen, in addition, had a truly commanding stage presence and physicality, particularly impressing the audience during her first solo, "Show Off."

The production boasted many wonderful supporting actors and actresses, such as Justin Harmon as the stereotypical Latin lover Aldolpho, and Ashley Webb as the aspiring leading lady Kitty. Harmon was easily the most hilarious man on the stage, with insane dance moves, an absurd accent, and a fabulous commitment to a character that could have fallen very flat without it. His solo number, the appropriately named "Aldolpho," complete with a double spin through the air and a high note many sopranos would struggle to reach, had the audience cackling. Webb played her ditsy character with jaunty flare, bouncing across the stage in constantly exaggerated movements, and speaking in a voice that should have been annoying, but somehow worked perfectly. She certainly knew how to grab everyone's attention.

The Drowsy Chaperone herself, an alcoholic who alternated between stumbling drunkenly about the stage and belting out memorable anthems, was performed to great success by senior Jordan Reilly. Amusingly sarcastic, oddly sage despite her inebriation, Reilly was a clear standout. One need only hear the audience's thunderous response to her solo number, "As We Stumble Along," to understand her impressive talent.

St. Andrew's Episcopal School produced a delightful production. Although there was occasionally some energy lacking in the ensemble numbers, and some confusion between satirical "mistakes" and real weaknesses, "The Drowsy Chaperone" was certainly a night well spent. I walked away satisfied and chuckling. Like "The Man in the Chair," I was able, for just under two hours, to be whisked away into a simple, love-filled world, where people can magically sing their sadness away and where every problem can be solved with four sudden, simultaneous weddings. The St. Andrew's cast and crew deserve great praise.

Maddie Helmstadter
Freedom High School
Submitted for publication to Montgomery Gazette

Sitting alone in his apartment is a man with a tragic past but an intriguing present—this man is in love with musical theatre, or at least, its effect on people, and at present he is enjoying just one example of the art. In the show, "The Drowsy Chaperone," first performed in Toronto in 1988, but opening on Broadway only nine years ago, the character of the Man in Chair listens to a record of the fictional musical "The Drowsy Chaperone." The plots of the Man in Chair and the musical within the play, both named, "The Drowsy Chaperone," come together to create an ironic and engaging production parodying the structure and form of musicals from the 1920s—dramatic dance numbers, extravagant love stories, and a series of spit-takes. The Man in Chair creates the world of a Broadway stage in his mind as he listens to a record of the musical, dreaming his sadness away. The St. Andrew's Players play up the comedy in an exciting show from start to finish.

Within moments of the first monologue, the audience in St. Andrew's theatre has fallen in love with the man in the chair, played by student Cameron Mitchell. Mitchell's perfectly timed gesticulations and facial expressions, present throughout the entire show, provided the show with an unbelievable energy, flawlessly carrying the story of a wild cast of characters along. As the man is drawn into the world of "The Drowsy Chaperone," his narration draws the audience into not only that world, but into his own.

Along with the Man in Chair, many of the lead roles in "The Drowsy Chaperone" were played very well by members of St. Andrew's Theater's cast. The drowsy chaperone herself (Jordan Reilly), Aldolpho (Justin Harmon), and Janet Van De Graaf (Amelia Heesen), particularly stood out, although the entire cast performed wonderfully. Reilly played the role of a drunken woman well, stumbling across stage confused but comedic. Committed to his role, Harmon inspired constant laughter as he played a passionate Latin lover, eager to cause mayhem in the lives of others. Heesen commanded the attention of the audience as she became constantly involved in the many subplots of the show. The many musical numbers ("Show Off," "As We Stumble Along," "Bride's Lament," to name a few) were executed well, especially with the constant narration of the man in the chair.

Minor characters and ensemble members played a major role throughout the performance, adding to the emotion of each scene, whether comedic, dramatic, or tragic. The two gangsters (played by Lizzie Naab and Beverly Howard) and Trix the Aviatrix (Daphne Figueroa), as well as many of the lovers and ensemble characters all provided energy to the show, helping to create the magical world of a Broadway stage through songs such as "Toledo Surprise," and "I Do, I Do In the Sky."

Without the effective band, interesting backdrops, beautiful costumes and smoothly-operated scene changes, St. Andrew's production of "The Drowsy Chaperone," would not have been the same. The combination of these technical aspects with the delightful cast of the production created the exhilarating environment of a Broadway musical, leaving the audience itching to see the production again.

Sequoia Carrillo
South Lakes High School
Submitted for publication to The Mane News

Have you ever listened to your favorite record and found yourself transported to a different world? The Drowsy Chaperone takes you through that journey with a quick-witted, anti-social middle-aged man as a guide. The musical satirizes the typical American theatre of the 1920s through exaggerated examples of stock characters, spit takes and mistaken identities. The satire Written by Bob Martin and Don McKellar and scored by Lisa Lambert and Greg Morrison, The Drowsy Chaperone first premiered professionally in Toronto in 1998. By 2006 the show had a spot on Broadway and had won five Tony Awards. The show was heralded for its clever use of the "show-within-a-show" concept. The concept allowed for outright criticism of the inner show, titled The Drowsy Chaperone, by the narrator called "Man in Chair."

In St. Andrew's Episcopal School's production of The Drowsy Chaperone a small cast full of big characters kept the audience in stitches for the entirety of the show. The cast's resident narrator, Man in Chair (Cameron Mitchell), conducted the production. With movements that commanded the audiences attention to subtle ticks that kept the scene alive even when the focus was on the inner musical. Cameron Mitchell maintained a balance between sass and admiration towards the inner show that played up the absurdity of the plot while still having a character arc of his own.

One of these larger than life characters that Man in Chair consistently made quips about was the vivacious Janet Van De Graaf (Amelia Heesen), a showgirl turned fiance to an oil tycoon who wasn't quite ready to step out of the spotlight, no matter what she insisted. Heesen showed charm and sophistication through her lilting 1920s dialect that she masterfully carried out throughout the show. Robert Martin, the bumbling oil tycoon played by L.J. Jackson, leant a consistently clear vocal talent to the production. Two comedic standouts in the show were Aldolpho (Justin Harmon) and Kitty (Ashley Webb. Harmon invested himself entirely in the character of Aldolpho making the audience roar with laughter each time he came on stage. Harmon managed to convince the audience within seconds that he was in fact a Latin ladies man who could seduce any woman he wanted. Webb portrayed Kitty; the classic flapper girl who wanted nothing more than to be famous. Webb brought a life to the stage each moment she entered, making Kitty as peppy and good-naturedly obnoxious as she was meant to be.

St. Andrew's Episcopal School's production of The Drowsy Chaperone made sure to transport the audience to another world while still sitting back with a tub of popcorn and reminding one of just how absurd that world is.

Abby Wei
Thomas S. Wootton High School
Submitted for publication to The Mane News

The lights are off when Cameron Mitchell begins "The Drowsy Chaperone" at St. Andrew's Episcopal School in the sardonic, drawling voice that easily transports the audience into a world of starlets, roller-blades and unbearable Prohibition. "The Drowsy Chaperone," a parody of American musical comedy, centers around an asocial musical theatre fan known simply as Man in Chair, who leads the audience through his favorite musical, the fictional hit "The Drowsy Chaperone." The musical within a musical contains exaggerated characters and plots, satirizing the typical musical comedy of the 20s.

The plot centers around the upcoming marriage of former Follies starlet Janet van de Graaff and oil tycoon Robert Martin. Broadway producer Feldzieg enlists the vain self-proclaimed famed lover, Aldolpho, to seduce the bride so that the wedding will be called off. Aldolpho accidentally seduces the Chaperone, van de Graaff pretends to be a mysterious Frenchwoman and seduces Martin while he is blindfolded, and the wedding is called off. After misunderstandings are cleared, four couples are married on a plane by its pilot because there is no minister. If this sounds confusing it is: No wonder there is a narrator throughout the entire show.

As he listens to the show, Man in Chair (Cameron Mitchell) is torn between his desire to absorb every moment of the show as it unfolds and his need to insert his personal footnotes and extensive-but-trivial knowledge of musical performances and actors, bringing the increasingly dizzy audience in and out of the musical fantasy. Mitchell's atypical character choices brought the Man in Chair to life and his expressive portrayal of the overly-emotional, awkward, slightly agoraphobic man brought roars of laughter from the audience throughout the play.

Amelia Heesen, who played leading lady, Janet van de Graaff, used a character voice that fit the time period perfectly, and her sweet tone in solo songs such as "Show Off" demonstrated her vocal prowess. The eponymous Drowsy Chaperone, van de Graaff's bridal day guardian, was played by Jordan Reilly. Reilly flawlessly portrayed the slightly dazed alcoholic and her commanding stage presence was strong throughout the show. After van de Graaff leaves the Chaperone to prove Martin's love, Adolpho (Justin Harmon), barges into the bridal suite and delivers a hilariously seductive song to the Chaperone. Harmon's entertaining accent, perfect comedic timing and dedicated character choices made Adolpho a memorable character.

Danny Knauss (Underling) portrayed the rigid, slightly sarcastic butler to a tee. His stark character contrast with Gabi Gedo (Mrs. Tottendale) elicited much laughter from the audience. The show found another hilarious duo in Ross Munk (Feldzeig) and Ashley Webb (Kitty). Munk's portrayal of the no-nonsense producer and Webb's portrayal of the ditsy wannabe star complemented each other well. Webb committed to her role in unparalleled fashion, playing her part convincingly and with dazzling energy.

The pit orchestra brought forth music in a dynamic that mostly complemented the performers without overpowering them.

The cast, crew and pit of St. Andrew's Episcopal School pulled off a timeless, hilarious show: one that has the heart and abundant humor that is certain to chase any blues away.