Ridley’s Drowsy Chaperone the perfect stage earworm
Everyone has that one recording that they’ve played for hours on end.
It has got them through tough times and they know it word for word, so much so that as they listen, it appears to come to life. This was the case for the Man in Chair, as was seen through Ridley College’s performance of “The Drowsy Chaperone.”
This Canadian-written, Tony-award winning meta-musical is set in the 1920s on the wedding day of the talented actress, Janet Van De Graaf, and the charming oil businessman, Robert Martin. The musical follows this day through various wedding guests, including Mr. Feldzieg, a producer hoping to stop the wedding at all costs. As a conflicted Janet navigates her emotions toward forgoing her life of glamour, love blossoms for the wedding guests as well. This show, that is amusingly self-aware of the musical stereotypes it aims to depict, is narrated, and often interrupted by the witty commentary of the musical-fanatic Man in Chair.
Ridley College’s portrayal of this hilarious production was nothing short of exhilarating. It moved through large choreographed numbers such as “Toledo Surprise,” and powerful solo performances without a hiccup. The transitions between the musical playing out and the Man in Chair pausing it to intervene with his own stories were seamless, almost making you believe that he truly was in control.
The show also represented the time period it was set in, with jazzy music and breathtaking costume design, such as flapper dresses, by Grade 12 student Anisa Estrada Karachi.
Perhaps the most memorable part of the school’s performance was that of the narrator, Man in Chair, played by Grade 9 student, Quinten Neudorf, who was able to exude the animated yet sorrowful character while flawlessly executing his countless monologues.
Another outstanding performance was that of Janet Van De Graaf, by Georgie Murphy, who proved to be a triple threat as she embodied the confident attitude of her character while also completing feats of gymnastics, dance and consistently strong vocals in numbers such as “Show Off.”
A performance from the cast that can’t go without mention was that of the European “king of romance,” Aldolpho, played by Abigail Sullivan, who never failed to get a laugh out of the audience. Furthermore, the tap dance sequence between the groom, Robert Martin, played by Jacob Lytle, and the best man, George, played by Jason Li, during “Cold Feets” was completely electrifying.
The talented ensemble and cast that this production held could give any crowd goosebumps, especially in songs such as “Fancy Dress” and “As We Stumble Along (Reprise).”
The extravagant energy of this musical couldn’t have been as accurately depicted as it was without the elaborate set. It was able to adapt to outdoor scenes with projections and palm trees, or to the inside of host, Mrs. Tottendale’s, home. The colourful lighting was able to emphasize the
mood in a variety of scenes and the production carried on effortlessly drawing any attention away from sound malfunctions or stumbled-upon words.
The impact that this show left on the audience was well deserving of the standing ovation it received, and is best summarized in the words of the Man in Chair: “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, you know? A little something to help you escape from the dreary horrors of the real world.”
KEERTHANA SRIKANTH