The dances with choreography by Chris Bailey are humdingers. What works spectacularly well all the time, though, are the song-and-dance sequences. Martin, by the way, eventually joined in to co-write “The Drowsy Chaperone’s” book with Don McKellar, and the songs are by Lisa Lambert and Greg Morrison.ĭancing on air: The dialogue can be hit-and-miss sometimes, it’s funny, and sometimes, it feels a bit too labored. The names of the betrothed couple who spawned it all - Robert Martin and Janet Van de Graaf - are still used for the main characters. Viewers loved the original parody so much that it grew and expanded and, in 2007, ended up on Broadway. Unassuming start: “The Drowsy Chaperone” had an unusual beginning: it was a musical spoof that some pals put together for the stag party before friends’ wedding in 1997. Tottendale, the rich widow hosting the nuptials (Ruth Gottschall) her ever-patient butler (Jay Aubrey Jones) and an aviatrix (Danielle Lee Greaves) who pops up at the end of save the day. There is the titular chaperone, a tipsy diva (played by Jennifer Allen) an egomaniacal, womanizing opera singer (John Rapson) two gangsters whose boss is an investor in the follies and want to ensure the show doesn’t lose its meal ticket in Janet Kitty (Ruth Pferdehirt), the bubble-brained companion of Mr. When he kisses her, thinking she’s the mademoiselle, Janet storms off, putting the wedding in jeopardy.Ĭolorful characters: Janet and beau Robert Martin are surrounded, naturally, by outlandish characters. Then, in one of the show’s winkingly and ridiculously farcical contrivances, Janet pretends she’s a French woman when chatting with her blindfolded fiancé. Feldzieg himself, though, wants to convince her to stay with the production. In the musical-within-the-musical, showgirl Janet Van deGraaf is giving up starring in the Feldzieg Follies to wed. As he plays the recording of a fictional 1920s show titled “The Drowsy Chaperone,” the characters come to life, and he comments on the action, with sly asides about everything from genre conventions to the actors who played the roles. A man (whose character is only called Man in Chair) hides from the outside world but finds solace and happiness in listening to albums of old musicals. Plot points: Since “Chaperone” doesn’t have a storyline that’s as familiar as, say, “Oliver!” (Goodspeed’s most recent show on the Opera House stage), we’ll give you a quick rundown. I mean, isn't that the point?” “The Drowsy Chaperone” answers that question with an unequivocal yes. As one of the characters says about musicals, “I just want a story, and a few good songs that will take me away. Take us away: The raison d’etre of “The Drowsy Chaperone’ is sheer escapism, with a nod to nostalgia. But this musical has the kind of pizzazz-filled production numbers that Goodspeed audiences deeply appreciate, and director Hunter Foster captures the madcap essence of it all. “The Drowsy Chaperone” isn’t as well-known a title as most others Goodspeed Musicals has presented at its Opera House (a friend of mine mistakenly referred to it as “The Drowsy Receptionist”). The successful candidate will have a keen interest in musical theatre (on or off stage) and have excellent administrative skills.Song and dance rule in ‘Drowsy Chaperone’ * vetting of foreign language translations * generation of invoices as per instructions from the Professional Licensing team * general administrative support as required * answering basic enquiries both via phone and in email The core duties/responsibilities will include: The successful candidate will be required to work from our newly refurbished office in London at 12-14 Mortimer Street, W1T 3JJ. Because of its many featured roles and accessible script, The Drowsy Chaperone will fit perfectly into any company's season or school's calendar.ĭo you love musicals and want to work at MTI? We're searching for a new Licensing Assistant / Receptionist. Hailed by New York Magazine as, "The Perfect Broadway Musical" The Drowsy Chaperone is a masterful meta-musical, poking fun at all the tropes that characterize the musical theatre genre. Mix in two lovers on the eve of their wedding, a bumbling best man, a desperate theatre producer, a not so bright hostess, two gangsters posing as pastry chefs, a misguided Don Juan and an intoxicated chaperone, and you have the ingredients for an evening of madcap delight. The recording comes to life and The Drowsy Chaperone begins as the man in the chair looks on. With the houselights down, a man in a chair appears on stage and puts on his favorite record: the cast recording of a fictitious 1928 musical. Winner of 5 Tony Awards (including Best Book and Best Original Score), The Drowsy Chaperone is a loving send-up of the Jazz age musical featuring one show-stopping song and dance number after another.
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