At the final performance of Swich Up Productions' 'The Drowsy Chaperone', a full house enjoyed this lively musical production. This five-time Tony Award-winning musical playfully parodies 1920s musical comedies, featuring a "show-within-a-show" script, colourful characters, and immersive staging.
The story follows Janet Van De Graaff, a glamorous showgirl who plans on leaving her dazzling career behind to marry oil tycoon Robert Martin. However, chaos erupts as an array of colourful characters—like the bumbling Latin lover Aldolpho, two gangsters disguised as pastry chefs, the Broadway producer Feldzieg (from Feldzieg's Follies—clever, right?), and Janet’s perpetually tipsy (aka 'drowsy') chaperone—threatens to derail the wedding. With mistaken identities, energetic dance numbers, and a bounty of laughs, the plot serves as a loving tribute to the classic tropes of early American musicals, all wrapped in a layer of self-awareness.
All of this unfolds under the watchful eye of our main character—The Man in the Chair—a secluded and devoted musical theatre fan. As he plays the vinyl record of this fictional musical from 1928, he imagines what it might have looked like on stage. The cast, in perfect synchrony, always 'pause' in tableaux whenever he wants to interject his thoughts. This clever interplay between the Man in Chair and the onstage action made it feel as though we were peeking into his imagination, where the lines between reality and fantasy blur in the most delightful way.
Adrian Carr, who stepped into the role of the Man in the Chair at the last minute, gave a performance that was truly heartwarming. His portrayal reminded me so much of Robin Williams—endearing, funny, and just a little bit melancholic. As the actual director of this production, Carr's enthusiasm for this musical was palpable. There was a compelling authenticity to his performance that made it seem as though he wasn’t merely playing a role, but rather sharing a piece of himself with us all.
The set, also designed by Adrian Carr, beautifully captured the essence of an apartment/dressing room with meticulous attention to detail. The characters made unexpected entrances from all sorts of places, including the fridge! It was clear that an immense amount of thought and effort went into creating a space that was not only functional but also enriched the whimsy of the storyline. Plus, there's something special about seeing a musical in an old fire station that's been converted into a performance space. The intimate setting really makes the whole experience feel personal, almost like enjoying a show in a friend's living room. The lack of microphones adds to this charm, even though it brought some challenges with sound levels, especially during the musical numbers. Still, the cast's vocals and projection were highly impressive!
The show opened with the lively number "Fancy Dress," introducing us to a cast of quirky characters. Samantha O’Hare was an absolute delight as the titular Drowsy Chaperone. Her entrances, gracefully clinging to the bed as it descended from the wall, were iconic. Her portrayal of the perpetually tipsy chaperone, marked with a martini glass and a Patti LuPone-esque flair, was hilariously entertaining. O'Hare's fantastic jazz vocals were showcased in "As We Stumble Along," where she played the character with a blend of class and chaos. I would love to see her in more comedic roles—she truly has a knack for it.
Justin Piper’s portrayal of Aldolpho was the epitome of comedic excess. His exaggerated theatrics kept the audience chuckling, particularly during his self-referential number "I Am Aldolpho." The dynamic between Piper and O’Hare was a delight, with his consistent ignorance of her advances making their scenes together comedic gold. Vivien Wood, in her role as Janet Van De Graaff, captivated with her solo "Show Off". Her voice, as sweet as a turtledove, soared through the theatre during this dazzling display of vocal prowess, prop work, and rapid costume changes.
Nicholas Joy played the over-the-top, loveable, and clumsy Robert Martin. He was a joy to watch, complete with a voice so exaggerated it could rival Prince Edward from Enchanted. His high-energy tap number "Cold Feet," performed alongside James Bird as George, was a crowd-pleaser, even if the sight-lines occasionally obscured their fancy footwork. The sheer exuberance radiating from their faces more than made up for it. Joy's duet with Vivien Wood, titled "Accident Waiting to Happen," was a beautifully sweet moment.
Gillian Simpson and Rod Jones embodied the forgetful Mrs. Tottendale and the loyal servant Underling. Simpson's strong classical voice contrasted excellently with Jones' deadpan delivery. Their duet "Love is Always Lovely" was adorable and their scenes were utterly entertaining, especially considering Jones found himself on the receiving end of a spit-take more times than I could count.
Tristan James portrayed Feldzieg convincingly as the powerful Broadway producer with a distinctive Jersey accent as if he had truly stepped right out of 1928. Tamara Long brought bubbly energy to the role of Kitty, capturing the essence of the hopeful, air-headed starlet. Douglas Berry and Brendan Dieckmann, as the pastry chefs (definitely not gangsters), were a hilarious duo, bringing slapstick comedy to their number "Toledo Surprise". Elyse Rea shone as Trix in the grand finale "I Do in the Sky." Each actor was perfectly suited for their role, collectively bringing the entire production to life in the vibrant manner envisioned by the Man in the Chair.
After a power outage in the Man in the Chair’s apartment, I found myself holding my breath, feeling a wave of empathy for his frustration at the interruption—who wouldn’t be devastated if their favourite musical stopped just one note from the end? The cast joining him for the encore created a perfect, heartwarming ending. Adrian Carr’s final words as the Man in the Chair, expressing his love for a musical he’s never actually seen live, resonated deeply. It was a reminder of the power of theatre to bring people together, even in moments of solitude.
Productions like 'The Drowsy Chaperone' are a testament to the thriving arts scene in Ipswich. They not only provide a platform for local talent to shine but also bring the community together in celebration of the shared joy of theatre. Swich Up Productions is playing a pivotal role in nurturing this vibrant culture. While I would love to see this production performed on a larger scale, complete with an orchestra and microphones, this cast and creative team captured the heart and humour of the show perfectly. With upcoming shows like It’s a Wonderful Life in December 2024 and Jekyll & Hyde in 2025, there’s much to look forward to from this talented group.
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