BWW Reviews: Stunning Courteney McClutchy in East Lake High's THOROUGHLY MODERN MILLIE

There are certain rules that need to be followed whenever putting on a production of THOROUGHLY MODERN MILLIE:

RULE #1: Cast a Millie that can sing, dance, act, and do all of it so marvelously that she must carry the whole show on her shoulders. RULE #2: Not only does the cast need to tap, they need to tap extremely well. RULE #3: If no one laughs at the character roles (Graydon, Meers, Bun Foo, Ching Ho), then you're in deep trouble. RULE #4: The production must have so much energy that it makes the audience lose its collective breath even before the performers do. RULE #5: Did I mention it needs a stellar Millie? RULE #6: Jimmy must exude a boatload of charm. RULE #7: If "Gimme Gimme" doesn't give you chills, then demand your money back. RULE #8: All of the above are important, but if you don't have #1, you don't have a show.

I saw the final performance of East Lake High School's Drama Department's production of THOROUGHLY MODERN MILLIE on Saturday night, April 25th. Let's see how close they adhered to my Millie Rules:

RULE #1: Cast a Millie that can sing, dance, act, and do all of it so marvelously that she must carry the whole show on her shoulders.

How did East Lake deal with this all-important commandment? They cast a young lady named Courteney McClutchy, a Junior, who gives a standout performance that exceeds almost any high school performance I have seen. This is a Millie who sings incredibly, dances well, acts with depth and feeling, and gives a multilayered performance. I've seen many Millie's in my times, but this one is certainly at the head of the class. Sure, she's a spitfire, a locomotive moving the show forward as Millie must do. But beneath McClutchy's powerhouse performance is a vulnerability, not just a show-pushing cartoon character. This is a woman looking for love, finding love, losing love, and getting love back....and she makes us care about her predicament.

RULE #2: Not only does the cast need to tap, they need to tap extremely well.

There has to be a lot of tapping in THOROUGHLY MODERN MILLIE (otherwise do another show), and boy, thank goodness there is a lot of tapping in this production. And it's all quite cleverly done and well executed. Kudos must go to choreographer Jarrett Koski for the incredible dancing and for teaching an entire cast (save for two performers, who already knew how) who never really tapped before. You would never know it. These looked like seasoned tap dancers, and the tap-type scenes in the Sincere Trust sequences, including a galvanizing "Forget About the Boy," were wonderful.

RULE #3: If no one laughs at the character roles (Graydon, Meers, Bun Foo, Ching Ho), then you're in deep trouble.

Yes, you must have a stellar Millie, but those secondary parts sure make the show. Daniel Miro-Chinea is the funniest Trevor Graydon I have ever seen. He leaps about the stage, hopping in love, with facial expressions that remind me of the old silent movie comedy stars. Christina Leggio is a hoot in the role of Mrs. Meers, a part that will give the political correctness police a run for their money. Her Meers looks like a weird combination of Count Yorga Vampire, Gollum, Hong Kong Phooey and a member from a Chinese KISS cover band. She has to be seen to be believed, and she is extremely funny. However, sometimes her fake accent and her "real" voice had a hard time separating themselves; but when you're this over-the-top insanely hilarious in the part, who cares? Bun Foo and Ching Ho (played respectively by Monty Hutson and Wylona Bouwens) do their jobs nicely,including their "Mammy" ("Maquin") sung in Mandarin. At first when I read that girls were playing the parts, red flags went up; but they did very well in the parts and we accepted them as males, a rip-roaring (subtitled) comedy team.

RULE #4: The production must have so much energy that it makes the audience lose its collective breath even before the performers do.

The ensemble in this MILLIE had a great deal of energy in the show, and their choreography was incredibly clean. I loved the opening, where each ensemble member was a separate character, not a group of "actors" who stand in the background. They are living, breathing souls. Earlier in the day, when I saw another show (Annie), I asked one of the actors what part she played. She said, "Ensemble." I asked her what her character's name was, and she said she didn't know. I told her she needed to get a name, a character, and a reason you're on the stage, because each ensemble member plays a very important part. I knew just by watching these young people in THOROUGHLY MODENR MILLIE that the characters' all had names (even if the audience didn't know them) and reasons to move and be on that stage. It's great when an ensemble is so strong it becomes a lively, living being...not just blend-in-the-background extras.

Special mention must be given to the ensemble member (Lara Leggio?) who in the opening number, when the entire cast is frozen onstage except for Millie, had her leg up in a backward kick and "frozen" for several minutes without it moving at all. Quite a feat.

RULE #5: Did I mention it needs a stellar Millie?

Yes, I did.

RULE #6: Jimmy must exude a boatload of charm.

No problem here, Jordan Roneree is a charming Jimmy Smith. I just wish he added more cockiness to the charm, because he certainly has a lot of potential as a performer. Some Little Jimmy moments were missed, but Roneree is very likable onstage, and with even more confidence, he will go far.

RULE #7: If "Gimme Gimme" doesn't give you chills, then demand your money back.

I got so many chills after Courteney McClutchy's "Gimme Gimme," they're multiplying (sorry for the pun). The song itself is diva's staple, a belter's dream, up there with "Don't Rain on My Parade," "Cabaret," "Everything's Coming Up Roses," and "And I Am Telling You I'm Not Going" in the you-better-do-it-right-or-don't-do-it-at-all department. And boy did McClutchy nail it. At times she almost out-Fosters Sutton Foster here (but she makes the song her own as well). She received an overwhelming ovation afterwards, and I would still be clapping if we didn't have to go home afterwards.

RULE #8: All of the above are important, but if you don't have #1, you don't have a show.

Sometimes I feel ambivalent in giving such heaping praise on a teenage performer, especially one who is not even a senior in high school yet. You fear such praise will go to the young performer's head, or at least make them hesitant to try to re-capture the magic of this particular performance. But I must be honest in my assessment, and McClutchy gives a revelatory performance. She needs to remember that every part is different; Millie Dillmount is just one role in a wide array of great musical theatre parts. I can't wait to see what McClutchy does with future roles, whether as a lead or as an important ensemble member. She's stunning.

I was obviously very impressed with East Lake's THOROUGHLY MODERN MILLIE. Michela Sieman (another talented Junior) made for a lovely and quite perfect Miss Dorothy, and Nattalia Ortiz sings her first song ("Only in New York") brilliantly but her "Long as I'm Here with You" wasn't nearly as successful due to some diction issues. (Diction issues also plagued some of the ensemble numbers.) The vocals, under the guidance of music director Frank Meekins, were quite strong as was the orchestra. Tech was overall good, with some minor lighting miscues, but nothing to groan about. Sets, led by set building manager Christian Panduro, were strong and creative (I love seeing images of Meers with a poisoned apple and her spray can on the walls). Costumes, managed by Sarah Willison, were quite grand and all appropriate to the times (1922). The run crew made the show seem seamless; it was never dull and the audience was never waiting impatiently for the next set change (the way it is in many community theatres; this is much better). THOROUGHLY MODERN MILLIE is all about energy and pace, and this one had it all and them some.

By the way, the program/playbill is exceedingly well-done and professional, with bios and photos not just of the cast, but of the all-important crew. I just wish they added a song list to the list of scenes. This is a trend of late, and I guess it really doesn't matter in a show as popular as THOROUGHLY MODERN MILLIE, but it's still awfully nice to include nonetheless.

Much of my ovation for this wonderful production must go to director Brad Brady. He has built an incredible drama program at East Lake High School, and I know they feel fortunate at having someone so talented and caring at their helm. You see that all of their hard work has paid off in the best way possible: a great show that seems to include the entire school. These are students not just on the stage, but behind the scenes, in the orchestra, building not just a great show, but a great experience. I have heard about the quality of East Lake High shows (like Peter Pan) for years; I'm very happy to finally know first hand what all the buzz is about. Can't wait to see what they do next!

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