Cape Cod Times
If you know and love musical comedy, and recognize that yes, it has some crazy conventions and yes, there’s no reason for someone to burst into song during a conversation, but you find it thrilling anyway, “The Drowsy Chaperone” is aimed right at your heart and sense of humor. If that’s not you? This show is pretty persuasive.
Cape Cod Theatre Company/Harwich Junior Theatre offers a buoyant, terrifically performed and produced version of this award-winning confection that pokes good-humored fun at the genre, while celebrating how transporting it can be.
The show: “The Drowsy Chaperone,” by Lisa Lambert, Don McKellar, Bob Martin and Greg Morrison; directed by Susan Thompson, with musical direction by Robert Wilder, and choreography by Suzette Hutchinson.
What it’s about: This high-energy, comedic valentine to musical theater is led by a lonely narrator named Man in Chair, played by Helen Carrier as a wry, eager and often moving curmudgeon. Man rhapsodizes on the style and its flaws, guiding us through a favorite show by playing a record album that brings characters to life. In that spoof, it’s 1928 and guests are gathering for a wedding between a stage star and oil tycoon. The Man’s apartment becomes filled with such Jazz Age-comedy, un-PC stereotypes as a drunken matron, an Italian lover, a dumb blonde looking for a show-biz break, and a scheming producer — all embroiled in an over-the-top story of mistaken identities. It’s very silly, but so entertaining.
See it or not? Absolutely see it, both for a joyous yet touching break from daily life and an example of how entertaining art can be when every element at a community theater clicks. Man in Chair might say it best when explaining devotion to a treasured show that has brought comfort for years. “It does what a musical is supposed to do: it takes you to another world. And it gives you a little tune to carry in your head. A little something to help you escape from the dreary horrors of the real world. A little something for when you’re feeling blue.”
Why should you see 'The Drowsy Chaperone'?
Under Thompson and Wilder’s dynamic direction, the cast is uniformly a delight, both when the Jazz-Age musical stars get spotlight moments and as a well-tuned ensemble. The actors impressively nail Hutchinson’s vibrant choreography, and the musical numbers are showstopper after showstopper. Groom Colin Bourget’s loose-limbed mugging and tap-dancing with John O’Meara as best man George in “Cold Feets” make you sit up and realize how high the caliber of this 100-minute production will be.
Also shining in solos are Emma Fitzpatrick, creating her booze-swilling chaperone with world-weariness and gusto; Ian Hamilton, expressive and funny as the overconfident, not-so-bright wannabe “Latin lover”-type Aldolpho; and Sydney Peterson, convincingly dazzling as a lovelorn stage star determined to leave her career for romance. Grace Olah brings sass and a great accent to her chorus girl and gets wonderful reactions from Zane Euerle Bender’s beleaguered producer Feldzieg. And how Samantha Walker and John O. Fennell (as wedding hostess and servant Underling) pull off a “spit-take” scene — eye-rollingly commented on by Man in Chair — is comic gold.
Sometimes life is a glamorous party
This musical started out in the 1990s as entertainment for a party in Canada, and was reshaped over years into a full-on musical that won five Tony Awards on Broadway in 2006, including for book and score.
Worth noting: Because the story comes to life in an old apartment, all the glamor of the Jazz Era play-within-a-play is conveyed by costume co-ordinator Cathleen Perry’s sumptuous outfits and wigs. They’re silky, satiny, sparkly and dapper, often in bright colors, and covered with glitter and furs. They gorgeously create just the right mood.
One more thing: Set designer Matt Kohler’s meticulously detailed apartment for Man in Chair is appropriately drab, but also a model of ingenuity. Unexpected spots become doors, furniture transforms, windows rotate, and more. Kohler hides Wilder’s wonderful band behind a scrim-curtain window until musicians need to appear. M Berry’s lighting and Seamus A. Sartin’s sound design are also crucial, especially to pull off tricky, fun moments when Man in Chair tweaks the Jazz-Era action.
How to see 'The Drowsy Chaperone'
7 p.m. Wednesdays through Fridays and 3 p.m. Saturdays and Sundays through July 21 (no show July 4) at Cape Cod Theatre Company/Harwich Junior Theatre, 105 Division St., West Harwich; $18-$35; https://capecodtheatrecompany.org/, 508-432-2002.
Kathi Scrizzi Driscoll
'Rock of Ages' is flawed but fun trip down '80s memory lane
ORLEANS ― Hey, ‘80s rock music lovers, listen up! It’s drama, laughs, potty humor, sex and rock ‘n’ roll … and singing along is encouraged. You can have it all as The Orleans Academy of Performing Arts presents ‘Rock of Ages.” From the get-go, the audience is told to sing out loud and to expect the cast to “break the 4th wall,” meaning that at any point an actor may speak directly to the audience.
There are a lot of laughs and an audience eagerly awaiting the next familiar, much-loved song.
The plot is creative and a bit on the silly side but it doesn’t much matter because this play isn’t being seen for the clever storyline. We’re here for the music, the intrigue, and to solve the question as to which ‘80s rock songs did the playwright pick to guide and round out the story? Piecing together the next song after an unfamiliar start or words spoken by the cast that lead to the next tune is a discovery in itself that makes for fun throughout the show.
What is the show and what's it about?
“Rock of Ages," arrangement and orchestration by Ethan Pop; book by Chris D’Arienzo
What It’s About: A boy and a girl, both with stars in their eyes, meet in a seemingly doomed club on the Sunset Strip. They both follow a rocky road that leads them in all sorts of crazy directions until they come to their senses. It takes a little over 2 hours to get there but the trip is worth it. While they are spinning in directions they hadn’t anticipated, a German father-son team wants to tear up the town, a couple of tough guys fall in love, a man follows his dream and a woman stands up for what she thinks is right.
There’s a lot more happening but you’ll have to go to the show to see how it all fits together. Ultimately, “Rock of Ages” is a light-hearted look at taking charge of one’s destiny. Macho but soft-hearted Lonny pointedly asks rock ‘n’ roll hopeful, Drew, “What’s gonna make you happy?”
What they did right or wrong
Highlight of the show: Max Dexter who plays Drew, is a powerhouse of a singer. Each piece he sings is strong and tuneful, and he is disarmingly charming as well as a definite crowd-pleaser. Beau Jackett is great as the poorly-behaved, spoiled rock star Stacee Jaxx. He’s both goofy and tortured, does a French kiss impression that is truly icky and belts out his songs with complete confidence. The duo Lonny and his buddy Dennis Dupree, played by Randy Doyle and Brian Corbett, are always providing laughs and together keep the show moving between their antics and Lonny’s narration. Tala Schonning plays buoyant Sherrie on Thursdays and Sundays (Caroline Gerety plays Sherrie on Friday/Saturday). Her duet with Dexter, “The Search is Over,” is particularly poignant. Finally, Suzanne Fecteau as Regina has a strong and pleasant soprano.
Needs work: Opening night for any show has its foibles and while this is entertaining from beginning to end, there are some issues to address. Timing on various levels is off, such as some uncomfortably long pauses between musical numbers and the occasional mismatch in pacing between the band’s steady beat and singers rushing their lyrics. On opening night, the ensemble pieces were inconsistent in terms of energy output with some subdued and others at full strength. There was a definite contrast in the body confidence of the older dancers, with the younger ones seeming a little hesitant. The mic and sound levels that were variable in this production will likely tighten up with repetition. Still, don’t let any of this scare you away.
Production is a family affair, not for kids
Family ties: In addition to Jackett and Kevin Kenneally who have played in “Rock of Ages” before this production, there’s a family tucked into all this excitement. Sonia Schonning is directing “Rock of Ages” for the third time. Rick Schonning is a veteran musician for the New York club circuit, a talent that comes in handy when he plays keyboard for the ‘80s rock songs as he has done twice before at other theaters. Finally, Tala Schonning has also played both Sherrie and an ensemble member in the past two times that she has acted in this show.
The band, headed by Music Director Rick Schonning, stays on the main stage throughout the performance and Luke Camelo plays some well-done and highly anticipated electric guitar riffs.
How to see 'Rock of Ages' at Academy Playhouse
See it or not: Go for laugh-out-loud live entertainment and an extravaganza of ‘80s hits while singing along. You can sing off-key or bungle the words because no one is listening ― and being part of a singing audience is a rare treat.
If you go: 7 p.m. Thursday -Saturday and 2 p.m. on Sunday through July 21. No performance on Thursday, July 4. The Academy of Performing Arts, 120 Main St., Orleans. Tickets $25 - $35. boxoffice@academyplayhouse.org or 508-255-1963.
Shannon Goheen
College Light's 'Iolanthe' is a frothy, fussy fun trip with gorgeous music
FALMOUTH ― In Gilbert and Sullivan’s “Iolanthe,” at College Light Opera Company through June 29, the fairy maidens are forbidden ― under penalty of death ― from marrying mortals.
But they do, nearly all of them do, and one laments to the fairy queen boss that “we couldn’t help ourselves.”
“Well, it’s obvious you already helped yourselves,” huffs Emma Mize, Queen of the Fairies, as she stands surrounded by noblemen who have sullied her ladies with marriage.
Mize delivers the line with just the right blend of exasperation and sass ― showing off how W.S. Gilbert could be perfectly deadpan no matter how outlandish the story.
Arthur Sullivan’s score is at the same time lush and detailed, like an audio version of the pointillism movement en vogue when the duo debuted “Iolanthe” in 1882. The overture, under the baton of music director Andy Chen, was a show in itself, perfectly paced and full of adventure.
What is ‘Iolanthe’ about?
: To oversimplify painfully, a power struggle ensues between the gentlemen of Parliament and the fairy folk. Strephon (Nathan Tilton) is born of a fairy mom (Kathryn -Ximena Rojas) and a human dad, who is to be revealed in time. Strephon is given power over both parties of Parliament, which is vexing to everyone and provides a link to politics of the time.
But Strephon is in love with Phyllis (Caitlin Towell), a human ward of the Crown. In a cringe-worthy moment, her gray-haired guardian The Lord Chancellor (Thomas Valenti) decides to “give” young Phyllis to himself in marriage.
What the production does right
Valenti’s performance of “Love, Unrequited, Robs Me of My Rest” is amazing. His ability to land every syllable on the right note with most of them clearly enunciated may make you think of this 142-year-old composition as a predecessor to good rap music.
Jude Chiarella as the fairy queen’s lust interest Private Willis, is hilarious as he positions his body higher or lower to match the music. And only in Gilbert and Sullivan does the Beefeater guard have a strip of red glitter on his trousers.
Harrison Gilberti (The Earl of Mountararat) and Brenden Christie (The Earl of Tolloller) are properly fussy while being exquisitely and ridiculously well-mannered as Phyllis' two betrotheds trying to decide who will have her.
See 'Iolanthe' or not?
Go for a top-notch performance if you can set aside what one Cape Cod Times reviewer called “a gossamer-thin plot,” as well as passing misogyny and stereotypical gender roles of the time. As you would expect from Gilbert and Sullivan, there is a lot of silly, frothy fun.
What you need to know to attend:
The show runs Tuesday through Saturday, 2 p.m. Thursday, June 27, $45 tickets are half-price for the matinee with code ”fairyland”; 7:30 p.m. Thursday-Saturday at Highfield Theatre. 58 Highfield Drive, collegelightoperacompany.com or 508-548-0668.
Gwenn Friss is the editor of CapeWeek and covers entertainment, restaurants and the arts. Contact her at gfriss@capecodonline.com. Follow her or X, formerly Twitter: @dailyrecipeCCT
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