The Vancouver Plank Panel are seduced by the drowsy chaperone
Your Plank Panel, singing their little hearts out for you:
*Maryse Zeidler* who is frequently drowsy and wishes life were more like a musical
*Andrew Templeton* who is never drowsy and knows life is a musical only that it’s playing in his head; this disturbs some people but he seems happy enough.
The Play: The Vancouver Premiere of *The Drowsy Chaperone* at the Vancouver Playhouse.
*Andrew:* The Drowsy Chaperone is a love letter to musical theatre, specifically to the form of musical theatre which flowered on Broadway before the Second World War. It is also a Canadian success story; a piece that originated in Canada and has enjoyed successful runs in both New York and London. And, for anyone who has ever struggled to put on a Fringe show in this country, it has achieved the status of legend. It first appeared at the Toronto Fringe Festival (after starting life as a spoof at a stag party) and was then picked up by David Mirvish; an old fashioned story of an impresario giving some crazy kids and their show a chance. Mind you these crazy kids were Don McKellar and Bob Martin (who co-wrote the book) and Lisa Lambert and Greg Morrison who provided the lyrics and music.
I say successful runs in New York and London but this needs a caveat. Bob Martin who originated the role of Man in Chair, the show’s host and narrator, in Toronto reprised the role for both the New York and London runs. Unfortunately, the West End production closed weeks after his departure creating an impression that the Drowsy Chaperone was a vehicle for him and without him the show was not worth seeing. I was curious to see how the Vancouver Playhouse would tackle this problem (if, indeed, it was a problem). Here in Vancouver we have Jay Brazeau and he is a complete delight. He has a warmth and ease that is both believable and grounded. You feel you know this character and, holed up in his small corner of the stage, you have a sense of his world. I would often glance at Brazeau during the musical numbers and his smiles and excitement were positively infectious. His performance is easily one of the most memorable things about this production but I’m left curious. Was his performance really the lynchpin? Does the Drowsy Chaperone really rely on one actor? Were we simply lucky to have a good stand in for Martin?
*Maryse:* I think you’re on to something with Man in Chair as the possible lynchpin of show, if only because he offers the filter through which to watch the musical as it plays out. Although the Drowsy Chaperone within the play is certainly entertaining, it’s the background story that Man in Chair provides that really turns it into a fully developed piece. Jay Brazeau nails the character with a charming blend of geekiness and contagious enthusiasm. Although I felt the gay side of the character was awkwardly overplayed in the beginning, he eased into it throughout the show and by the end I really just wanted to reach out and poke him, you know? Besides Jay Brazeau, the real strong point of The Drowsy Chaperone is obviously the script. The story is just so damn fun. I mean, gangsters disguised as pastry chefs – need I say more?
As you mentioned Andrew, this play comes with a strong history of some serious accolades, and it was a great move for the Playhouse to get the first rights for an independent production in North America. I personally was drawn to it because of Don McKellar’s involvement – his admirable history as a Canadian actor and screenwriter is certainly enough to draw attention to any project he works on, this one included.
*Andrew:* I can see the headline now: Plank Reviewer caught in Jay Brazeau poking scandal. Man in Chair is definitely the element that gives the show its unique quality and reinforces the love-letter focus. Without him it would be simply a polished send-up. I’m not saying this is a profound piece of theatre – it’s not meant to be – but Man in Chair provides the show with emotional heft. For example, he has a terrific monologue about the arc married life can take (and which felt as if it might have been an element maintained the stag night original). This monologue was cynical and fun and up to date (and only slightly at odds with the open campiness that Brazeau brought). It also provided a nice moment of playing the colourful, playground of the musical and its impossible aspirations of beautiful people against a man alone in his shabby apartment with his record collection.
But wait, there’s more! Two things excited me about this production. First was the sheer quality. The Playhouse has pulled off a slick evening of entertainment that could play on any stage, any where. Secondly the joy of the performers was palpable. This is the second show I’ve seen in a row (the other being the very different Glengarry Glen Ross) where the performers were, quite simply, letting it rip and having a blast. How great is that?
*Maryse:* It was great enough to have me laughing too loud and too long at the super campy vaudevillian humour (I apologize profusely to anyone sitting within 50 ft of me. In fact, I apologize to the entire audience in attendance last Thursday. I know I have a problem, and I’m working on it. Sort of.). Did I mention the gangsters disguised as pastry chefs (Shawn Macdonald and Neil Minor)? Yes? How about Aldolpho, the Latin lothario (Thom Allison)? Kitty, the ditzy showgirl (Nathalie Marrable)? Trix, the Aviatrix (Tsholo Khalema)? And of course the Drowsy Chaperone herself (Gabrielle Jones), a wanton woman with a deep, strong voice and a serious fondness for champagne. The actors have a lot of great material to work with, and yes, they did so with great enthusiasm. Certainly some of them were stronger singers than dancers, or vice versa, but overall the cast was very strong.
My only criticism is that, unfortunately, Debbie Timuss as the soon-to-be-wed lead lady, Janet, could not seem to project her voice when she was singing. She definitely made up for it with acrobatic dancing, but I could barely hear her, and we were sitting quite close to the stage. I can’t imagine how anyone in the balcony could have caught any of the lyrics she was singing.
*Andrew:* I found the same thing with Timuss. During the show it felt as if she was a visitor from 2008 while everyone else seemed very much of the era. I think this is due to her singing voice, which was good, but didn’t have the richness or projection the piece demanded. Still, this is a minor quibble. It strikes me as important for the Vancouver theatre community that the Playhouse put on work that is not only commercially viable but also great theatre that has scope. It was a joy to see that enormous stage filled with a Canadian work. This is Max Reimer’s coming out party here in Vancouver, let’s hope it marks the beginning of a new era of leadership and engagement with the wider theatre community. Oh, and I too have a rather noticeable (“I heard you blocks away”) laugh. Maybe we should avoid seeing comedies together, eh Maryse? Or at least sit in different parts of the theatre!
A post-script to the above: so, I was talking to a musician friend and mentioned the Timuss singing thing and he didn’t agree. He thought that there was something wrong with the mixing of the sound – and that the band was simply too loud and drowned out the performers.
The Drowsy Chaperone Music and Lyrics by Lisa Lambert and Greg Morrison / Book by Bob Martin and Don McKellar; Presented by the Vancouver Playhouse; Directed by Max Reimer; Musical Direction by Lloyd Nicholson; for more info dance here.