The Drowsy Chaperone, London

Although originally entitled An Accident Waiting to Happen, this is a show that is anything but: from the first of a barrage of knee-slapping gags to the very last clichéd twist, if taken for what it is, The Drowsy Chaperone is a comic gem that doesn't disappoint. Set up as a lovingly satirical throwback to the musicals of the 1920's, don't be fooled however, as this is certainly no Cole Porter or Rodgers and Hart.

Located in a tatty apartment, the story centres on a fanatical musical-theatre fan known simply as 'Man in Chair', who loses himself in a collection of records in order to escape his dreary existence. In a moment of nostalgia he plays his favourite album; a fictional 1920's musical named The Drowsy Chaperone, and within moments is transported to a colourful dream world of squeaky actresses, red-blooded Europeans and gangsters disguised as bakery cooks. Here, a vain actress named Janet Van De Graaff is about to marry a man she has only just met, and her money mad producer, in a desperate bid to keep his greatest asset from retirement plans to sabotage the looming wedding.

  

The 'show within a show' concept provides a framework that allows for endless opportunities to lampoon every musical theatre cliché in the book. Man in Chair, in annotating the proceedings admits that his favourite show has numerous flaws, and we subsequently see these shortcomings bought to life on an epic scale. Unnecessary costume changes, irrelevant songs and untimely dance breaks are all used to string together the shakiest plot imaginable, and all these moments aside from being self conscious or ironic in some way are also thoroughly enjoyable in their own right. Having the support blanket of parody also allows the show to be as outrageous as it likes without feeling cheap or gimmicky; unoriginal visual gags such as cooks with food trays visibly strapped to their hands suddenly seem acceptable given the context.

  

The glitzy world of the 1920's is bought to life by a powerhouse cast. Returning to the West End stage for this first time in seven years, Elaine Paige doesn't hesitate sending herself up as the slightly ditsy, attention seeking Drowsy Chaperone to hilarious effect. The Chaperone's ill-timed and sporadic appearances always steal her the limelight, which she refuses to give back on most occasions; bowing and waving halfway into the next scene following her first number. Bob Martin, co-author of the show's book and the original 'Man in Chair' recreates his role from Broadway in an amusing and involving performance, befriending the audience within moments with his hilariously apologetic awkwardness. Summer Strallen as diva Janet Van De Graaff is also a joy to watch, effortlessly indulging in every quip that comes her way. Her first number Show Off is a highlight, with an assortment of quick changes, high kicks and bizarre instrumental solos quite genuinely showing off Strallen's comic aptitude.

  

David Gallo's set, a dingy one-room apartment is simple but effective, and within moments is easily taken from the gloominess of reality to any number of shamelessly garish locations, where glittery curtains, china peacocks and seashell footlights are all perfectly at home. As Man in Chair gives his own personal thoughts on his favourite show, the audience is constantly shifted between these two worlds, but with a set that snaps into place there is never a risk of losing pace. The simplicity of this multifunctional space in fact acts perfectly to serve the purpose of the show, which is after all to strip down and distil all those hackneyed theatrical conventions rather than dress them up with mechanical set pieces and overwhelming special effects.

For all the fun and frivolities, don't however expect to be sucked into their world of circus camp; despite Man in Chair's best efforts to entice the audience into his wild imaginings the approach is just too self conscious to be truly involving. But for a one-act show, The Drowsy Chaperone packs a lot of punch in a short space of time, with a hilarious barrage of sketches inspired by all those ingredients that most musicals try so desperately to hide. Go for the comedy and stay for the comedy, and you won't be disappointed.

 

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