SHOW INFORMATION: Through May 11. Fri – Sat at 8PM, Sun at 3PM. Go to www.ccbcmd.edu for more information.
◊◊◊out of five. 2 hours, 45 minutes, including intermission. Mild adult humor and situations.
A lot of people love the old-fashioned musical style – lots of tap dancing, characters that make you laugh and a love story that, no matter what obstacles come up, is sure to have a happy ending before the final curtain. Add a couple of through the roof ballads and a star-turn or two and you have a huge success on your hands. Such was the case with Thoroughly Modern Millie when it opened on Broadway, and, it would seem is the case as well at Dundalk Community Theatre's production which opened last weekend and concludes its run this Sunday. Like I said, so it would seem. This production has all of the right pieces, and even though it is the most well put together musical I've reviewed at this venue, it still lacks the one thing it needs to send Millie into musical theatre heaven – oomph. Instead, director Tom Colonna and company have put together a sturdy, everything in its place, by the book presentation.
The irony, of course, is that the show is chock full of over the top characters and situations. Millie is one of those shows where playing it straight exposes its flaws – in this case way too much plot and catchy but unmemorable songs. Mr. Colonna's direction seems very careful. That is, it looks fine, and probably reads beautifully in his director's script, but to a person, everyone seems to be holding back – sometimes just a smidge, sometimes a lot, but always in some measure. A perfect overall example of this is Craig Cipollini's choreography, which comes dangerously close to exact reproduction of the Broadway version, most notably in the title number. He has selected a well-above average ensemble of dancers who tap in unison, wave their arms in unison and get every single step exactly as choreographed. But there is almost no sense of "wow!" as is evidenced by the polite, but not thunderous, applause after each production number. (The house was packed and the noise level low.)
That sort of malaise plagues nearly every performer, but it is not for lack of talent. No, they all sing well and have a firm grasp on their characters, but they are reminiscent of horses lined up at the Preakness gate, chomping at the bit to bet let free. And considering the vast amount of experience in this company, I have to think that it was directed as such.
Still, the performances are, for the most part, very good with a lone exception. Deborah Desmone's Muzzy Van Hossmere is technically proficient. She is acting, she has every line down, does her limited choreography, sings every song and every note exactly right and looks glamorous in her costumes. But Muzzy, if nothing else, is larger than life – a beacon of the high life, jaded with experience and effervescent with joie de vivre. Not so in Ms. Desmone's interpretation, which is decidedly bland, rendering a good bit of the end of act one boring, and a key scene in act two completely out of focus. In that scene we should be watching the great Muzzy work the New York crowd. Instead, we find ourselves admiring the precision of her "boys" doing the chorus thing amazingly well. As necessitated by the plot, Millie goes to her to seek advice, but as presented one wonders why Millie is so taken by this woman.
The rest of the supporting cast is good. Lisa Pastella does the best she can with what little the role of Miss Flannery offers, though I wondered throughout what she would have been like with some license to let loose. As villainess Mrs. Meers' unwitting sidekicks, Drew Gaver and Lauren Everd steal nearly every scene they are in because they have a ton of energy and seem to understand the melodramatic aspects of their roles – not bad considering they are speaking Chinese throughout. Here, it is a shame that Marc W. Smith's lighting wasn't a tad more focused because it rendered the hilarious subtitles virtually unreadable. I'd venture a guess that more than a few patrons missed them altogether.
James was first bitten by the theatre bug at the tender young age of 11, when, at the last minute, he was called upon to replace a classmate who, 42nd STREET-like, broke his leg, in a play, of all things, about the skeletal system! It was a trip to New York with his high school drama teacher to see Angela Lansbury in MAME that sealed his fate. As an actor, favorite roles include Sheridan Whiteside in THE MAN WHO CAME TO DINNER, Potiphar in JOSEPH..., Col. Pickering in MY FAIR LADY, and Sancho Panza?s ass in MAN OF LA MANCHA. After spending a summer feeling very conflicted playing both an apostle AND a high priest in JESUS CHRIST SUPERSTAR, James' theatre career took a turn toward direction and design, including such varied productions as THE DIARY OF ANNE FRANK, LOST IN YONKERS, GETTING AWAY WITH MURDER and GRAND HOTEL, SIDE SHOW, THE MYSTERY OF EDWIN DROOD and SWEENEY TODD. James holds a Bachelor's degree in English from Towson University, with additional course work in journalism, dramaturgy, scenic design and stage direction. He is living proof that you can be a devout Sondheim fan AND love MAMMA MIA! |