The Drowsy Chaperone - Stirling Players (23 November 2024)

At one point deep into The Drowsy Chaperone, Man in Chair opines that musical theatre is the antidote to all that may be troubling you in the real world, if only temporarily. In this he is absolutely correct and this show is Exhibit A. Like our fourth wall breaking narrator, I was feeling a little blue going in. Throughout, I laughed as hard as I have in some time and came out feeling rejuvenated and back to my old self.

This is the second time I've seen a production of Drowsy after WAAPA's exceptional 2016 effort. It's fair to say it's one of my favourite musicals and director Kimberley Shaw and the Stirling Players have done it justice in a breezy and very funny incarnation. It's a bright and witty confection of a musical that is a real treat because of how joyously meta and over-the-top it is.

The tone is immediately established by Ben Clarke as Man in Chair in a fabulous performance. I hadn't come across Clarke before so the suggestion in the lobby beforehand about his version being a little different had me intrigued. That unique 'take' is initially masked as the show opens with him situated stage right in darkness, unsurprisingly to those paying attention... in an armchair. His opening salvo as he addresses the audience is wonderfully cheeky as he wonders if the show will be too long, if there will be - gasp - audience interaction, and if they're ever going to turn the lights on. The audience laughs because these are things we all wonder when we take our seats for any show.

When the lights do come up I quickly understand how this Man in Chair is indeed a little different. Clarke has learnt all his lines after they were translated into braille. There's a hint of improvisation, later confirmed by the director, however it's such an engaging turn that it matters nary a jot. He has us in the palm of his hands as the character provides a running commentary on the show within a show. 

The conceit is that Man in Chair is listening to his favourite 1928 musical on a record player and by doing so magically summons the characters to life on stage. There are all sorts of clever shenanigans that disrupt or halt the show including his need to offer facts about each fictional actor playing each fictional part; his favourite songs and the ones that don't quite work; and how musicals function in general. It's smart writing drolly executed which is irresistible to music theatre lovers. 

The story itself is about the impending marriage of Robert Martin (Max Leunig) to star of the stage Janet Van De Graaf (Danielle Battista) and all those who have a vested interest in that marriage not going ahead including Broadway producer Mr Feldzieg (Ben Mullings) who doesn't want to lose his star attraction. There are a couple of gangsters disguised as pastry chefs (Emily Botje and Lukas Perez) who heavy Feldzieg; the absent-minded hostess Mrs Tottendale (Megan Kelly) and her Underling (Benn Austin); Robert's Best Man, George (Oliver Temby); and Kitty (Ciara Malone), a scatter-brained ingenue with her sights set on replacing Janet. 

Then there's the most unlikely of pairings in self-proclaimed Latin lover, Aldolpho (Christian Dichiera) and the Drowsy Chaperone herself played by Sonni Byrne who is far more interested in a tipple or three than shepherding Janet away from her betrothed on their special day. It's a musical so of course the marriage goes ahead... and the other marriage... and the other one... oh, and there's one more for good measure. Conducted by the most unlikely of 'ministers' in Trix, the Aviatrix (Tashlin Church). 

The performances are excellent in terms of comic timing, a willingness to play big when called for (often), fun choreography by Jordon D'Arcy executed with flair, and some real chutzpah to the vocals. Battista grows in stature as the story unfolds and makes for a vibrant and emotionally fraught Janet with Show Off an early highlight and Bride's Lament an unhinged fantasy sequence that is likely to haunt my waking nightmares for some time! I'm a sucker for a tap dance routine so Cold Feets led by Leunig and Temby is another highlight. In fact the whole musical is constructed as one marvellous set piece after the other with the linking narration by Man in Chair.  

Botje and Perez get to play shtick whilst delivering groanworthy pastry puns and a Toledo Surprise. Mullings and Malone form a screwball partnership with the latter bouncing all over the place with ditzy energy. Byrne and Dichiera are another combination that comes to life with gusto while Austin plays the straight man to Kelly's antics including the spit take sequence which is hilariously magnified by the height disparity between them.

Suitably, it's all presented as a brightly lit, fabulously costumed fairy tale that uses the full depth of the Stirling Theatre stage - Lighting Design by John Woolrych, Set Design by Wayne Herring with Costumes by Lyn Hutcheon. The 15 piece Orchestra under Musical Director Isabella Bourgault play the wonderful score with style off in a side room. They initially overwhelmed the start of the opening narration but Sound Operator Kieran Ridgway quickly adjusted the balance and it was spot on after that. 

This is a gloriously fun show. Music theatre lovers will adore it but it's easily accessible to anyone who loves witty writing, larger than life performances, and a joyous vibe. The Drowsy Chaperone is on at the Stirling Theatre until 7 December.