Can there be too much fun? Nope! And the director, cast and crew of Lakeside Little Theatre’s recent staging of “The Drowsy Chaperone” proved it.
The musical, by Bob Martin and Don McKellar with music and lyrics by Lisa Lambert and Greg Morrison, parodies the typical musical comedies of the 1920s and doesn’t just make you chuckle. The script, the acting, the asides and the music elicit belly laughs and guffaws, almost from beginning to end.
I say “almost” because the first several minutes are filled with conversation by someone listed in the credits only as “Man in Chair.” I agonized over the idea that the precious time would be filled with someone explaining something that was self explanatory. However, it turned out the commentary was actually part of the comedy and delivered in a well-developed manner, with thousands of words, none of which were dropped during the production by Rob Stupple.The story, with typical shallow romanticism of the era, flies on the superior singing and dancing (mostly singing) by a cast clearly well rehearsed and holding dynamite charisma and chemistry with each other. This kind of performance can only be credited to the director. Dave McIntosh proved his resume of credits, achieving possibly the best musical production ever seen at LLT.
The cast is filled with brilliant characters allowed to go “whole hog,” some with whom we are familiar and some brand new to LLT. Betty Lloyd Robinson as “Mrs. Tottendale” was creditably drifty, especially when dealing with her butler the patiently put-upon “Underling” played by Pat Carroll. Kevin O’Byrne, in the romantic lead in love with “Janet Van De Graaf,” brightly played by Alexis Hoff, was surprisingly musical. Don Wilson added some stability to the story playing wedding best man “George.” Don DeCarl was just slimy enough in his role as movie director Feldzeig and Greg Clark and Russell Mack were just plain hysterical playing gangsters (Joizy accents and all) all dressed up in their authentic pastry chef outfits.
Consistently light, bright and to-the-point funny was Heather Hunter in her role as the ditzy “Kitty” (who could read her own mind). Playing the Latin lothario “Adolpho” to the hilt, Patrick DuMouchel let all the ham hang out and everyone absolutely loved it. In the title role, Patteye Simpson as the Chaperone was lushy (as in booze) and matter-of-fact, lending her prodigious voice to the musicality of the story. A newcomer to LLT, Wendy Peterson, who played “Trix the Aviatrix,” was dynamic and vocal (in a good way).
We have to mention the Hotstuff Drowsy Chaperone Band with Belva McIrvin de Velazquez, Pam Price, Donald Lott, Norma Province, Kenneth Bridges, Marguerite Ponder and Steve Caver. They kept the pace at a ground-speed record and the music exciting.
Butlers, who were used to change scenery and add to the chorus, were Ray Himmelman, Bob Hendrick, Garry Peerless, Grace Holman, Olga Kaplounenko and Ann Swiston.
Swiston was also the assistant director, the choreographer was Barbara Clippinger, the music director was Judy Hendrick and Flemming Halby was the assistant choreographer and music conductor.
The stage manager was Win McIntosh, assisted by Leslie DeCarl. The production assistant was Donna Hogan. Set design was by Ann Swiston and Dave McIntosh with construction by Alex Pinkerton, Richard Bansbach, David White, Ian White, Chet Beeswanger, John Blackmer and Sandy Appelbaum. The set was decorated by Dana Douin and Roberta Hilleman.
Bryan Selesky, Dana Douin and Dave Hutchinson were in charge of the special effects and Shannon Blair managed the props. Shellie Checkoway and Pierre Huot did the lighting design and operation with Zane Pumiglia and Pierre Blackburn on the spotlight. Sound design and operation was by Karen Lee and Dave Hutchinson and the video special effects were by Neal Checkoway.
Barbara Clippinger designed the costumes with Sofia Gregory and Paulette Coburn in charge of the wardrobe. Dressers were Kathleen Carlson and Donna Hogan. The makeup was by Maxcine Tate, Maureen Renz and the season 48 make-up team.
There’s only one thing left to say about a production like LLT’s “The Drowsy Chaperone”—Well done! And if any readers are lucky enough to get tickets for the last performances—Go to it!