Review: THE DROWSY CHAPERONE at Bastrop Opera House

The musicals of the 1920s-1940s are rich territory for parody since many imported the stylistic elements (vaudeville, dance hall style, revue, et al.) of popular entertainment of the era to carry the shows, often disadvantaging well-developed plot lines and complex characters. Using this form, musical theater enjoyed a long period of mainstream popularity and their songs dominated popular music of the time. This is the era of Jerome Kern, Ira and George Gershwin, Irving Berlin, Cole Porter, and others, all of whom embraced songwriting styles that crafted inventive, clever lyrics and attractive, memorable melodies, resulting in what we now know as the “standards” of musical theater.

This musical theater style captured the attention of Don McKellar, Lisa Lambert, Greg Morrison and their friends, and in 1997, these artists gathered together to create a comedic pastiche of early 20th century musical theater for a party. This was the beginning of the musical parody THE DROWSY CHAPERONE, later adding Bob Martin to the creative team. As the best parodies do, this musical seizes on notable caricatures (the English butler, a scatterbrained middle-aged woman, the Latin lover, the burned out star of the stage, and so on), and places them in a common situation where problems are sure to arise: in this show, a wedding day.

From May 3 to May 19, The Bastrop Opera House is performing THE DROWSY CHAPERONE, as part of their 135th anniversary. Directed by Kelsey Layton, this production is acutely comedic, producing a laugh-till-your-sides-hurt experience that delights the spirit and leaves a song in your heart. 

Jason Lucio (Man In Chair) is a fantastic lead for this show, delivering the sensitivity, quirkiness, and beauty of his reclusive, emotionally “blue” character with authenticity and artistry. Lucio’s acting is winsome, compelling us to care as much about Man In Chair as we do the musical he is enchanted by. A superb actor whom I look forward to seeing again! 

Chera Tribble (Janet Van De Graaff) portrays the characteristic gestures and mannerisms of a 1920s female star well and shines in her song Show Off. Other notable performances are from Collin Moore (Adolpho) who absolutely charms us all as the Latin lover, delivering his comedic character with exactly the right amount of swagger and absurdity, Gary Blake (Underling) as the long-suffering British butler, Aline Forasteri (Kitty) as the overeager and ditzy starlet, Chase Lancaster (Robert Martin) as the smitten groom, Lisa Holcomb (The Drowsy Chaperone) as the boozy chaperone, LaNette Lathem (Mrs. Tottendale) as the dowager, and Judah Lathem (George) as the anxious wedding planner. 

Worthy of special mention are the absolutely hilarious team of gangsters, Tommy Schell (Gangster 1) and Christina Burbank Shelton (Gangster 2), who deliver farce with expertise and immaculate timing, and Candice Carraway (Trix) the “aviatrix” who is - despite her limited appearance on stage - a clear standout with her knock-out singing. 

Musically, the strength of this performance lies not in the individual voices, which represent a range of abilities in singing, but instead in the ensemble as a whole. Every time the cast joins in their large ensemble numbers, they are outstanding: beautifully in tune, well-balanced (hard to do when the sound designer is mixing against an instrumental track), and absolutely in time with one another. So, a shout-out to Marc Lionetti, the Music Director for the show - you’ve done great work with this cast - and to Jason Farley, for expert sound design.

Other excellent production elements include the flexible set design by Jacob Layton and Kelsey Layton, and especially the cozy corner that Man In Chair occupies. I was immediately enchanted by the granny-square pillow, double crochet afghan, and Victrola. The lighting design by Mike Fahrentold fits the show well, and keenly draws our attention to where it should be, even while it also helps shape the mood of each scene. Alyse Orr’s costume design is wonderful, helping each character fit their role without overdoing the stereotype.

The Bastrop Opera House’s performance of THE DROWSY CHAPERONE is well worth the short drive from Austin. It is family-friendly, joyful, full of laughter, and will help you sing a tune even as life’s absurdities come, as they do in this show.

THE DROWSY CHAPERONE

Book by Bob Martin & Don McKellar

Music and Lyrics by Lisa Lambert and Greg Morrison

The Bastrop Opera House, 711 Spring Street, Bastrop 78602

May 3 to May 19, Fridays through Sundays, 7:30 pm shows with some 2:30 pm matinees

Running Time: 2 hours; one 15-minute intermission

Tickets: $30 https://bohtickets.ludus.com/index.php?show_id=200439804 

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