BWW Reviews: THOROUGHLY MODERN MILLIE at The Firehouse Theatre

It's one thing to be the leading lady in a musical; it's another to be the lead in a show bearing your character's name in the title. Luckily, The Firehouse Theatre's production of THOROUGHLY MODERN MILLIE has found the perfect plucky namesake star (Janelle Lutz) for its current production. Lutz's talents are equally matched by a competent, playful and well-rounded cast to tell this quirky tale of flapper frivolity, lost loves and an elevator powered by tap dancing.

Based on a 1967 film of the same name but later rebooted for Broadway, THOROUGHLY MODERN MILLIE follows the story of Millie Dillmount, a 1920s ingénue who leaves behind rural Kansas for the Big Apple where work life and marriage hopefully await. But things take a quick turn after Millie is mugged just after tearing up her return ticket leaving her penniless at the Priscilla Hotel, a bunkhouse for would-be actresses. It's also the home base for the nefarious Mrs. Meers (Sarah Comley Caldwell), a hotel proprietor with a few secrets including being the leader of a white slavery ring that ships orphaned girls to Hong Kong.

Set designer Alex Krus establishes the tone for this take on MILLIE with a simple backdrop of black, white and silver that serves as a blank canvas for the cast and the jewel-toned, Gatsby-inspired costume creations by Victor Newman Brockwell, which captivate with their intricacy. Band conductor Rebecca Lowrey and her team are placed on-stage and part of the action from the overture forward adding a supper club feel to the performance, especially during Millie's many stand alone spotlight numbers like "Gimme Gimme." The smart blurring of band and cast continues with Carlos Strudwick flitting between trumpet solos and a role in the Male Ensemble.

Director Derek Whitener confronts the could-be Asian stereotype setbacks in the script with an ethnically diverse group of actors who are able to address the elephant in the room with a wink and a smile. Leading this charge is Caldwell's larger-than-life version of Mrs. Meers who delivers her lines in her own clever, flamboyant dialect that's equal parts Cartman from "SOUTHPARK" and Ethel Merman. The result is funny, but without making fun of anyone in particular. The same is true for brothers Ching Ho (Mark Quach) and Bun Foo (Hunter Lewis) who turn numbers sung in Chinese with the English subtitles projected overhead into earnest love ballads, and not just simple comic relief. Making her grand entrance in a jeweled turban and fur wrap that would make Norma Desmond jealous, Muzzy Van Hossmere (Kimberly M. Oliver) adds to the color-blind casting while keeping the roaring 20s vibe rolling with numbers like "Only in New York" and "Long as I'm Here with You."

With Lutz's magnetic stage presence and velvet voice that wraps around the audience, MILLIE could easily become a one-woman show with a few supporting characters. However, Lutz gracefully shares the spotlight with Miss Dorothy Brown (Rebecca Paige), a wealthy debutante curious about how the other half live; Jimmy Smith (Tyler Jeffrey Adams), a man about town and could-be love interest; and Trevor Graydon (Derek Whitener), Millie's boss with a passion for stenographer perfectionism. Whitener does get to revel in some impish and well-deserved scene stealing with his booming baritone and rapid-fire, "Modern Major General" performance during "The Speed Test," one of the best numbers in the show.

The audience during my attendance of the February 19 show appeared to have a great time based on the giggles at the witty quips and sight gags and abundant applause (especially after many of the rhythmic tap numbers). During curtain call, I heard a nearby audience member describe the show as "just darling." And I think it's true, MILLIE is a lot of things - modern, silly, clever, cheeky - but most of all, it's darling.

THOROUGHLY MODERN MILLIE continues at The Firehouse Theatre through March 6. Tickets can be purchased online at http://www.thefirehousetheatre.com/.

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