Stages St. Louis Season Continues with THE DROWSY CHAPERONE

If you're feeling a little blue, or maybe just experiencing some "non-specific" sadness, a sure cure for that condition can be found by attending Stages St. Louis's sparkling presentation of The Drowsy Chaperone. This is an uproariously funny show that pokes gentle fun at the very core of musical theatre conventions. Everything is fair game in Bob Martin and Don McKellar's witty script, which even manages to lampoon opening blackouts and intermissions.

A character known only as the Man in the Chair narrates this amusing take on musicals from the late 1920's. When he's feeling a little down he plays the records (yes, records) of the original cast album for his favorite musical, The Drowsy Chaperone by Gable and Stein. It's a silly piece of fluff that follows the standard "boy meets girl, boy loses girl, boy gets girl back", plot. The twist here is that all the characters that inhabit it come to life on stage in a gloriously goofy display that's occasionally interrupted by stray phone calls, or a knock on the door from the building super. During this "visualization", the Man in the Chair cracks wise and occasionally participates in the action (although he's "invisible" to the other actors), providing hilarious results in the process.

David Schmittou is perfect as the Man in the Chair, radiating just the right mix of enthusiasm and sarcasm to temper the experience. Schmittou is an affable and amusing presence throughout, offering up tart punchlines that never fail to miss their mark. It's a brilliant performance.

David Elder and Tari Kelly are especially appealing as the young lovers, Robert Martin and Janet Van De Graaff, respectively. Janet is leaving show business for the married life, and Kelly does wonderful work on "Show Off", as she demonstrates the very talents she'll no longer be imparting to her public. A highlight has her singing "The Bride's Lament", a lyrically challenged song with a catchy melody that I'm still trying to get out of my head. Elder is very good, especially when he dons a blindfold while wearing roller skates (don't ask). His tap dancing skills, along with those of his best man George, who's well played by Brian Ogilvie, are shown to good effect during a number called "Cold Feets".

Kari Ely is a graceful presence as the absent-minded hostess, Mrs. Tottendale, delivering nice versions of "Fancy Dress" and "Love is Always Lovely". John Alban Coughlan aids her in her duties as the much-beleaguered, and forever-deadpan, Underling. Ed Romanoff adds a spark as Janet's greedy producer Feldzieg, who employs a local Lothario to put a kink in her wedding plans. Melinda Cowan is wacky and determined as the dense blond chorine named Kitty.

Edward Juvier makes a bid to steal the show as Aldolpho, an outlandish, romantic caricature, who tries to woo Janet, but ends up with the chaperone instead. Juvier gives this politically incorrect role his all, chewing the scenery, and bringing down the house. A second appearance as another racial stereotype is equally funny, but best left for your own discovery. Christianne Tisdale also captures attention as the Drowsy Chaperone, upstaging her fellow actors at every opportunity, and belting out a rousing version of the show's anthem, "As We Stumble Along".

Additional support is provided by Ben Nordstrom and Michael Baxter as a pair of comedians (think Wheeler and Woolsey) playing mobsters disguised as pastry chefs, and Zoe Vonder Haar as an aviatrix named Trix.

Michael Hamilton's direction and staging are marvelously conceived and executed. Even without an intermission, this show flies by at a brisk clip. Hamilton's exceptional work is complemented by the cute choreography of Dana Lewis, and the stellar musical direction of Lisa Campbell Albert. Stuart Elmore's orchestral designs work well with Lisa Lambert and Greg Morrison's jazz age score. James Wolk has constructed a very clever scenic design that starts as the Man in the Chair's apartment before opening up to other possibilities. Lou Bird's costumes fit the bill with flair, and Matthew McCarthy's lighting is very effective.

Stages St. Louis's hysterically funny production of The Drowsy Chaperone continues through August 16, 2009, at the Robert G. Reim auditorium.

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