Drowsy Chaparone
at Mater Dei
Reviewed on January 27, 2018
| Name | School | Publication/Broadcasts |
Lauren Lee | University | Orange County Register |
Lauren Lee | University | Orange County Register |
Katie Romero | Laguna Hills | OC Cappies Facebook |
Katie Romero | Laguna Hills | OC Cappies Facebook |
Kelli Nilsen | El Dorado | OC Cappies Facebook |
Kelli Nilsen | El Dorado | OC Cappies Facebook |
Lauren Lee
University
Submitted for publication to Orange County Register
Mater Dei's ‘Drowsy' delivers, dazzles, and delights
The lights dim out, the glistening chandelier fades into the blackness, the solemn melody of the piano has ceased, and in an instant you are whisked away into the world of a roaring 1920's musical that manifests the true meaning of musical theatre; to transport, transform, and transcend.
As the lights come up, the audience members of Mater Dei's "The Drowsy Chaperone" are enveloped into the apartment of a middle aged musical theatre aficionado, decorated with a veteran bookshelf and vinyls and playbills galore. The frisky voice of Man in Chair (Sebastian Ledesma), fills the theatre as he frolics around on stage adorned in a rustic brown sweater vest and comically large glasses. His jittery movements and neurotic actions never once leave him on stage, as he engages and comments on his treasured piece of entertainment.
In the opening number, "Fancy Dress," the ravishing, remarkable, and vocally pristine Janet Van de Graaff (Alyssa Schickling), who is giving up her spot in the limelight to marry her beloved man, Robert Martin (Nick Van Dalsem), strides onto stage, followed by her alcohol endorsing maid of honor and confidante, The Drowsy Chaperone, (Victoria Goodkind), whose boldness and half drunkenness shines in her rendition of, "As We Stumble Along."
The flash of a red cape, gel slathered black hair, and shiny dress shoes belongs to none other than the self absorbed, king of romance, Adolpho (Keith Romero). With his impeccable comedic timing, Romero struts around stage pronouncing his praised name in the number, "I am Aldolpho," to the sultry, husky voiced, Chaperone.
The Flapper Era of the 1920's is revived through the impressively pitched makeup designs, led by Megan Jones and Rosa Saporito. Each member of the ensemble exhibits theatrical and expressive film star and flapper fashion through the use use bright red lips and illustrious, accentuated smoky eyes.
The musical successfully comes to a close with the full complay aligned on stage, enclosed in a beautiful, harmonic reprise that fills the room with a sense of unity and concordance.
Mater Dei's marvelous production of "The Drowsy Chaperone" does what theatre should; it transports you into another realm and allows you to escape reality for one brief moment until the curtain closes and you leave with a mind open to imagination and experience.
Lauren Lee
University
Submitted for publication to Orange County Register
Mater Dei's ‘Drowsy' delivers, dazzles, and delights
The lights dim out, the glistening chandelier fades into the blackness, the solemn melody of the piano has ceased, and in an instant you are whisked away into the world of a roaring 1920's musical that manifests the true meaning of musical theatre; to transport, transform, and transcend.
As the lights come up, the audience members of Mater Dei's "The Drowsy Chaperone" are enveloped into the apartment of a middle aged musical theatre aficionado, decorated with a veteran bookshelf and vinyls and playbills galore. The frisky voice of Man in Chair (Sebastian Ledesma), fills the theatre as he frolics around on stage adorned in a rustic brown sweater vest and comically large glasses. His jittery movements and neurotic actions never once leave him on stage, as he engages and comments on his treasured piece of entertainment.
In the opening number, "Fancy Dress," the ravishing, remarkable, and vocally pristine Janet Van de Graaff (Alyssa Schickling), who is giving up her spot in the limelight to marry her beloved man, Robert Martin (Nick Van Dalsem), strides onto stage, followed by her alcohol endorsing maid of honor and confidante, The Drowsy Chaperone, (Victoria Goodkind), whose boldness and half drunkenness shines in her rendition of, "As We Stumble Along."
The flash of a red cape, gel slathered black hair, and shiny dress shoes belongs to none other than the self absorbed, king of romance, Adolpho (Keith Romero). With his impeccable comedic timing, Romero struts around stage pronouncing his praised name in the number, "I am Aldolpho," to the sultry, husky voiced, Chaperone.
The Flapper Era of the 1920's is revived through the impressively pitched makeup designs, led by Megan Jones and Rosa Saporito. Each member of the ensemble exhibits theatrical and expressive film star and flapper fashion through the use use bright red lips and illustrious, accentuated smoky eyes.
The musical successfully comes to a close with the full complay aligned on stage, enclosed in a beautiful, harmonic reprise that fills the room with a sense of unity and concordance.
Mater Dei's marvelous production of "The Drowsy Chaperone" does what theatre should; it transports you into another realm and allows you to escape reality for one brief moment until the curtain closes and you leave with a mind open to imagination and experience.
Katie Romero
Laguna Hills
Submitted for publication to OC Cappies Facebook
Nobody but the Chaperone was Drowsy at Mater Dei
Directed by Mr. Joe Alanes, Mater Dei's Drowsy Chaperone is a story of one guy listening to the soundtrack of a 1920's musical where several characters meet their soulmates and share one big wedding.
The lighting team, headed by Jacob Nguyen, effectively separate Man in Chair's world from the show world using spots and colors. Man in Chair often receives a single spot while acts on stage are lit up by vibrant colors and fun patterns; and soloists on stage have a double spot coming from two directions. The ironic use of red lighting on stage while Man in Chair goes on and on about how blue he feels comically shows how quickly his heart will be warmed by an old classic.
The old-timey feel of a 1920's record is mastered by the sound team, lead by Andrew Park. The microphones are balanced perfectly so as to not echo in a large gym venue, and to make each character's words understandable while sounding as if they are coming from an antique radio. Unfortunately some words are lost when microphones give out, but it is only ever for a second so the story is not greatly affected.
Adorable friends Robert and George, played by Nick Van Dalsem and Andrew Estrada, bring musical number "Cold Feets" to life with their cute cartoony grins and strong vocal harmonies. Featured dancers Aliza Hinz, Sarah Schulist, Hanna Schulte, Annamarie Verkuylen, and Alexis Villanueva tap their feet from cold to hot with impressive footwork, cheary smiles, and sheer dancing talent.
The entire ensemble keeps the show's energy at its peak by constantly being engaged with whatever is occurring and keeping a deadpan expression during comically dramatized moments. Master of remaining engaged is Sebastian Ledesma as Man in Chair. Whether he is bopping his head to the song or dancing in his seat while munching on a protein bar, he is always focused on what was going on. Receptor of many spit takes, John Shepherd as Underling is the king of deadpan. A spit take scene which man in chair explains as a lame attempt to make time for costume changes is made the comic gem of the show due to Underlying's unchanging expression while receiving face-fulls of "ice water" (vodka during prohibition).
Mater Dei's "Drowsy Chaperone" is a lovable show that warms hearts to an old classic.
Katie Romero
Laguna Hills
Submitted for publication to OC Cappies Facebook
Nobody but the Chaperone was Drowsy at Mater Dei
Directed by Mr. Joe Alanes, Mater Dei's Drowsy Chaperone is a story of one guy listening to the soundtrack of a 1920's musical where several characters meet their soulmates and share one big wedding.
The lighting team, headed by Jacob Nguyen, effectively separate Man in Chair's world from the show world using spots and colors. Man in Chair often receives a single spot while acts on stage are lit up by vibrant colors and fun patterns; and soloists on stage have a double spot coming from two directions. The ironic use of red lighting on stage while Man in Chair goes on and on about how blue he feels comically shows how quickly his heart will be warmed by an old classic.
The old-timey feel of a 1920's record is mastered by the sound team, lead by Andrew Park. The microphones are balanced perfectly so as to not echo in a large gym venue, and to make each character's words understandable while sounding as if they are coming from an antique radio. Unfortunately some words are lost when microphones give out, but it is only ever for a second so the story is not greatly affected.
Adorable friends Robert and George, played by Nick Van Dalsem and Andrew Estrada, bring musical number "Cold Feets" to life with their cute cartoony grins and strong vocal harmonies. Featured dancers Aliza Hinz, Sarah Schulist, Hanna Schulte, Annamarie Verkuylen, and Alexis Villanueva tap their feet from cold to hot with impressive footwork, cheary smiles, and sheer dancing talent.
The entire ensemble keeps the show's energy at its peak by constantly being engaged with whatever is occurring and keeping a deadpan expression during comically dramatized moments. Master of remaining engaged is Sebastian Ledesma as Man in Chair. Whether he is bopping his head to the song or dancing in his seat while munching on a protein bar, he is always focused on what was going on. Receptor of many spit takes, John Shepherd as Underling is the king of deadpan. A spit take scene which man in chair explains as a lame attempt to make time for costume changes is made the comic gem of the show due to Underlying's unchanging expression while receiving face-fulls of "ice water" (vodka during prohibition).
Mater Dei's "Drowsy Chaperone" is a lovable show that warms hearts to an old classic.
Kelli Nilsen
El Dorado
Submitted for publication to OC Cappies Facebook
Students show off in Mater Dei's ‘The Drowsy Chaperone'
The lights come up, the overture swells through the theater, and the audience is greeted by an elderly man who sits down to revisit one of his favorite musicals, The Drowsy Chaperone. With witty comments and a twinge of dry humor, the nameless man narrates the soundtrack that begins to unfold in his kitchen as he sits back in his armchair and escapes from reality.
Serving as the middleman between the audience and the hijinks on stage, Sebastian Ledesma navigates the complicated storyline in his role as Man in Chair. Ledesma portrays himself in an amicable manner, bringing a warmth and friendliness to the sardonic character. Using his impeccable comedic timing, he begins to construct the show by introducing the characters.
He starts with the leading lady, Janet van de Graff (Alyssa Schickling) who is an admired Broadway star, ready to give up a life of glamour to marry her goofy, yet lovable fiance Robert Martin (Nick Van Dalsem). Schickling and Van Dalsem are enticing onstage, showcasing their impressive vocals in songs such as ‘Cold Feet' and ‘Show Off'. Van Dalsem is especially charming with his cartoony grin and eccentric movements.
Dismayed by her choice to surrender fame, her producer (Aidan Mulholland) devises a convoluted plan to sabotage the wedding involving two disguised gangsters, a European lover, and, of course, a drowsy chaperone. The gangsters are played by comedic pair Marco and Dario Rimicci. The two perfectly encapsulate stereotypical 20's gangsters, moving and speaking in perfect, larger than life, synchronization.
Perhaps the most impressive feat were the technical elements which brought the story to life. The set, designed and built by a student production team, was visually stunning and adapted smoothly for storytelling. The man's kitchen was able to seamlessly turn into a hotel room in a matter of seconds by utilizing a camouflaged murphy bed and concealed doors. Other elements were also able to accomodate for physical gags, such as actors entering the stage through the kitchen sink or the refrigerator.
With whimsy and turbulent humor, Mater Dei gives a boisterous performance of The Drowsy Chaperone.
Kelli Nilsen
El Dorado
Submitted for publication to OC Cappies Facebook
Students show off in Mater Dei's ‘The Drowsy Chaperone'
The lights come up, the overture swells through the theater, and the audience is greeted by an elderly man who sits down to revisit one of his favorite musicals, The Drowsy Chaperone. With witty comments and a twinge of dry humor, the nameless man narrates the soundtrack that begins to unfold in his kitchen as he sits back in his armchair and escapes from reality.
Serving as the middleman between the audience and the hijinks on stage, Sebastian Ledesma navigates the complicated storyline in his role as Man in Chair. Ledesma portrays himself in an amicable manner, bringing a warmth and friendliness to the sardonic character. Using his impeccable comedic timing, he begins to construct the show by introducing the characters.
He starts with the leading lady, Janet van de Graff (Alyssa Schickling) who is an admired Broadway star, ready to give up a life of glamour to marry her goofy, yet lovable fiance Robert Martin (Nick Van Dalsem). Schickling and Van Dalsem are enticing onstage, showcasing their impressive vocals in songs such as ‘Cold Feet' and ‘Show Off'. Van Dalsem is especially charming with his cartoony grin and eccentric movements.
Dismayed by her choice to surrender fame, her producer (Aidan Mulholland) devises a convoluted plan to sabotage the wedding involving two disguised gangsters, a European lover, and, of course, a drowsy chaperone. The gangsters are played by comedic pair Marco and Dario Rimicci. The two perfectly encapsulate stereotypical 20's gangsters, moving and speaking in perfect, larger than life, synchronization.
Perhaps the most impressive feat were the technical elements which brought the story to life. The set, designed and built by a student production team, was visually stunning and adapted smoothly for storytelling. The man's kitchen was able to seamlessly turn into a hotel room in a matter of seconds by utilizing a camouflaged murphy bed and concealed doors. Other elements were also able to accomodate for physical gags, such as actors entering the stage through the kitchen sink or the refrigerator.
With whimsy and turbulent humor, Mater Dei gives a boisterous performance of The Drowsy Chaperone.