***** When one thinks of Theo Ubique, now referred to as THEO, they cannot help but envision one Fred Anzevino, the man behind the storefront “cabaret” musical theater back in the last century ( 1997). The new theater has been renamed in his honor as the Fred Anzevino Theatre to honor his legacy. Tonight, watching the wonderful production of “The Drowsy Chaperone”, I felt that his memory was conveyed by the main character, Man In Chair ( played to perfection by Steve McDonagh) as the man sitting home who loves musical theater and in particular this special album. For those of you unfamiliar with the word “album” these were the recordings that were made and played by people on a thing called a record player or victrola.
Under the direction of L. Walter Stearns, with musical direction by Eugene Dizon, this musical farce written by Bob Martin & Dan McKellar ( book) and Lisa Lambert & Greg Morrison ( lyrics and music) is one that is seldom seen. In fact, it has been about 20 years or so since I was able to see a production on a full stage with an orchestra. Theo is a cabaret theatre where the action takes place right on the floor with the audience surrounding the performance area. For most of their productions, it is truly cabaret style with chairs and tables. For this one, there is one table ( seating area #4) where we were seated, and several couches and chairs allowing audience members to be on three sides. The set (Bob Knuth) is kind of cool for Theo in that we feel we are in the home of “The Man In The Chair” with a kitchen and door leading to everywhere, as well as a terrace with doors.. It is clever and allows Stearns to do his thing, which is to make the audience feel that they are indeed a part of the cast. After all, The Man In The Chair is talking to us,p laying off us and even brought our table cups of tea.
It is a journey into times gone by! It is a way of bringing back some of the memoirs of one’s youth. How many of us played albums in our rooms ( when no one was home) and sang along with the characters they wanted to be, and even danced a bit, perhaps jumping from floor to bed and back? Our man character, by telling us his story , brings back memories for each and every would-be musical theater performer in the audience. Musical theater can bring us comfort, joy, memories and allow us to forget what is going on in the zany world in which we are living. It is nice to escape into a better place, and watching this production tonight, I did forget about politics, that there is a “not-War” going on in the Middle East, and that gas prices are going to get out of hand. Who cares? Certainly not the “Drowsy Chaperone”!
Stearns has put together an absolute perfect cast of players to bring these crazy characters to life. The Chaperone herself is played to perfection by Colette Todd, and the bride she is supposed to work with and for , Janet, is brought to life by Kelsey Macdonald, who is quite athletic. Her groom to be is played by Trey Plutnicki, who is quite the tap dancer. His best man George is deftly handled by Kevin Chlapecka, who is also a smooth dancer. These two do a tap number that is worth the price of the ticket alone. BUT, wait! There is so much more in this show. Darian Goulding is an amazing Adolpho, who is brought into the picture to make sure the wedding doesn’t work as producer Feldzeig ( deftly handled by Reginald Hemphill) owes the mob big time and if the wedding takes place, his star will not do the show, and the mob will not get their money. The show has many sub-plots that intertwine, but in a comical way. 
The gangsters after Feldzeig, Jimmy Hogan as gangster #1 and Chase Wheaton-Werle as Gangster #2, are posing as the pastry chefs for the wedding in order to keep an eye on their target, and they end up doing a couple of cute numbers as well. There is also a butler ( Peter Ruger) who gets to dance, sing and even get water sloshed all over him in one of the slapstick bits. Understand this was the 20’s and “shtick was in”. The other characters are Mrs. Tottendale ( Jenny Rudnick), Trix ( Lena Simone), and Kitty ( Luiza Vitucci). I guess we should not omit Eldon Warner-Soriano who comes out in a near final scene when it seems that the power is blown, stopping the LP from playing, meaning the show cannot go on.. It gets fixed and we have a bunch of weddings and a very happy ending.
While there is no stage, per se, the choreography by Jenna Schoppe and her assistant Britta Scheid was amazing. In particular the tap dance number in the first act. The costumes by Nick Cochran were terrific and fit the era to perfection. Anna Jackson’s sound was perfect and the lighting (Ellie Fey) was right on. Ab Rieve handled the props which for the most part seemed to fit an era long gone. Dizon and his musicians while not in view handled the music and made it sound as if there was a full orchestra. Four musicians made the music feel and sound as if you were in a huge venue with a pit filled with musicians. Hats off to Dizon ( conductore/piano), Lindsay Williams ( drums/percussion), Sophie Creutz ( reed) and Michael Leavens ( trumpet).- great work!
Presented by Theo Ubique
” The Drowsy Chaperone” will continue Thru – Apr 19th with performances as follows:
Thursdays:7:30pmPrice: $33-$66
Show Type: Musical
Box Office: 773-939-4101
The Fred Anzevino Theatre is located at 721 West Howard Street , Evanston Illinois
Review: “The Drowsy Chaperone” at Theo is a Theater Lover’s Fantasy!
By Paul Lisnek, “Curtain Call Chicago”
****/4
The Drowsy Chaperone (2006 Tony Award winner for Best Original Score and Best Book of a Musical) at Theo is a witty, heartwarming love letter to and celebration of musical theatre! This show is the fantasy every devotee of musical theater gets and appreciates. It’s a standing ovation inducing evening of laughs and fun! You can feel the energy fill the room in this intimate, classic theater space that was meant to present productions exactly like this one. It’s Theo’s way of reminding us why we all fell in love with musical theater comedy in the first place!
The show is traditionally characterized as a “show within a show.” But I disagree. The show IS the fictional 1920’s-based Drowsy Chaperone, but it’s surrounded, not so much by another show, but by a single character (the Man in the Chair) who talks to us about the show….his is a narrative whose job is to tell the story of that other show….and we never lose site that we are watching the performance of Drowsy as if we are students of American Musical Theatre, including biographical notes not just of the characters but of the fictional actors who played them….the Man in the Chair wants us to get the importance of theater and power of actors in our lives and even to forgive those moments in a show when the playwright or score writers “jump the Shark” such as in “Bride’s Lament.” Very tongue in cheek; all eyes on the action, and all eyes on the teller of the story.
The story is told thru its cast recording (of the whole show!) but through the interpretive eyes of that “Man in the Chair,” a role so lovingly played by theater veteran Steve McDonagh, who in many ways represents all of us who get lost while listening to the cast recording of our favorite Broadway musicals. McDonagh unfolds the plot like a valentine to a bygone era of Broadway theater. Yet, he tells us that he has never seen the show, but fell in love with the cast recording gifted to him by his mother; it was love at first site. He is the anchor of the show who guides us with deep felt passion and a sense of personal nostalgia. He wants us to feel and share the love that he feels for the show and as a bonus perhaps, for every musical production we have ever fallen in love with during our own lives.
Shows aren’t made today the way the fictional “Drowsy” was supposedly made in the 1920’s, yet it looks and feels exactly like what we expect a production of that time period to look like. The script is filled with witty observations and a genuine affection for the genre that is easily relatable for us. “Drowsy” brings the cast recording to life (skips, defects and all) before our very eyes and only feet away because after all, this is in the Theo space. We become part of this magical experience. Here, nostalgia in performance, tone and costume, are met by a top-notch performance by every member of this fabulous ensemble cast.
An affection for the genre, anchors the show with warmth and pathos, guiding the audience through a whirlwind of laugh inducing nonsense tempered with heartfelt nostalgia.
Each performer hits a high note—figuratively and literally. The Chaperone herself, lovingly played by Colette Todd, commands the stage with exuberant comic timing, while the supporting players, from the debonair groom (the handsome and talented toe-tapping and roller skating Trey Plutnicki) to the pair of bumbling gangsters (played with great humor by Chase Wheaton-Werle and one of my local favorite actors, Jimmy Hogan), create a tightly woven ensemble who blend so well with each other. The choreography is playful and varied tapdancing and all, the vocals soar, as together, they vividly capture the 1920’s era in which the characters and the actors who played them lived (over the top slapstick moments and all). As an ensemble, the cast finds the perfect balance between performing broad comedy and infusing it with genuine heart. Much credit must be given to seasoned director L. Walter Stearns who understands how to guide actors to performing comedy, but never without an underlaying sense of heart and humanity in the portrayal.
Theo’s signature touch—immersive staging and emotional honesty in its by-design close quarters—elevates the show well beyond simple parody; it’s a more moving and meaningful tribute to musical theatre that leaves you smiling long after the final note.
Whether you’re seen the Drowsy Chaperone before, or are discovering it for the first time, this production offers a loving tribute sorely needed in an era where the arts seem unappreciated by those who fund it; happily, Theo delivers again: polished, hilarious, and heartfelt. It’s beloved founder Fred Anzevino would be oh so proud..this was his kind of show. Bravo!
Paul M. Lisnek, J.D., Ph.D.
Host,”Curtain Call Chicago” Theater and Arts Podcast
More Stories
“The Movement You Need: An Evening with Brendan Hunt” reviewed by Mark Reinecke
“Fault”
“Going Bachrach: The Songs of an Icon” Al Bresloff and a 2nd look from Paul Lisnek, Curtain Call Chicago