When I was away visiting my mother in Charlotte this month, my parents-in-law came up to Albany over the weekend to help paint Lydia's (still unoccupied) bedroom. I came back that Tuesday before Thanksgiving. Then Wednesday, they took Lydia to their house in Oneonta, and Carol and I were able to go to the rapidly-expanding Proctor's Theater in Schenectady to see The Drowsy Chaperone.
One of the reasons I watch the Tonys every year is to see what's on Broadway, because I'd otherwise have little idea. Unless it's a retread from anotheer medium (The Producers, Mamma Mia), it doesn't get that much coverage. Here's the broadcast segment for TDS, a little scratchy, I'm afraid:
It was entertaining enough for us to want to see it when it came to town.
I agree with most aspects of this local review, except that I would have picked Show Off, the song in the above segment, as the highlight. In fact, unlike some of the songs that wouldn't cut it on their own if it wasn't part of the farcical faux musical, it would stand up on its own in any production.
Still, as the review suggests, the success of the production is largely on the shoulders of the Man in Chair, the narrator of the piece. The role was originated by Bob Martin, and he was replaced by Jonathan Crombie, who played the role in Schenectady. The Broadway role, interrupted by a now-resolved strike, is now being played by Bob Saget - yeah, the guy from Full House and 1 Vs. 100; I'm having difficulty imagining him in the role. Though not entirely comparable, I think of the Man in Chair as pivotal as the Stage Manager in Thorton Wilder's play Our Town.
Another performer reprising her role from Broadway was Georgia Engel, probably best known as Ted Baxter's wife on the Mary Tyler Moore Show. She talks about going on the road here:
I really like the truthiness of this commercial that suggests that we're not likely to be swayed by the testimonials of "real people":
So, when I saw THIS one, I laughed out loud:
I don't know why this winner of five Tonys was was not very successful in its London run; a different sensibility, I suppose. All I know is that The Drowsy Chaperone made me laugh out loud many times. The best recommendation for a musical comedy I can think of. ROG