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Thoroughly Modern Millie The first national tour of Thoroughly Modern Millie is in town for a two week run at the grand Music Hall. In two and a half hours, this dazzling production washes away the bad taste left from the last musical that was here (the lame Will Rogers Follies starring Larry Gatlin). Thoroughly Modern Millie took the Tony Award home for Best Musical in 2002. Its main competition was the magnificent Urinetown, a musical that earned much higher critical praise than Millie and was a favorite among many theatergoers. I still strongly feel that Urinetown is a far superior musical than the tap fest Millie. (Oddly enough, the "citizens who had to pay to pee" won the triple crown in Tony Awards: Best Score, Best Book, and Best Direction.) Millie possesses a flawed, slightly disheveled book and at times, a lackluster score with redundant, reusable writing in a couple of songs. The fast "tie up all the loose ends" final book scene reads as though the writers simply ran out of steam and decided to heap all of the characters into mix-n-match couples. The jazz flavored score does have some delicious songs and grand ensemble numbers, but it also contains its fair share of clunkers that wheeze and gasp to keep the storyline going. Having said all that, I still adore Millie dearly! The beaded, sequined flapper costumes, slick suits, and colorful office costumes designed by Martin Pakledinaz are marvelous. The gowns worn by Millie and Muzzy will force you to squint with their blinding bead encrusted adornments. David Gallo's scenic design is pretty much the same as the Broadway production, though missing the turntable and elevator set pieces. Nevertheless, the sets are sharp, while very art deco in design and scope. It is clearly obvious why Rob Ashford won the 2002 Tony for Best Choreography on this production; the dancing is glorious, energetic, fresh, unique, and visually superb. The cast dances with neverending energy and commitment to the major dance numbers as well as in background dancing. I haven't seen such amazing tap work since the 42nd Street revival at the Ford Center in New York. Excellent examples of Ashford's tap delights include "The Speed Test," "Forget About the Boy," and the title song. The entire cast is fantastic, not a weak one in the bunch! Leading the stellar group is the fabulous Darcie Roberts as Millie. My first time seeing Roberts on stage was when she was in the Tommy Tune production Stage Door Charlie (later changed to Buskers Alley). She was the lone female principal who was wonderful. Roberts came back through Dallas with the tour of Copacabana, which I loved. In fact I went back and saw this Barry Manilow musical three times, and a major reason was to see Roberts' performance. Now she is in her first star vehicle, and she wins the audience's hearts and support right from her first scene. Roberts displays hilarious comic skills that have not been used to their potential until now. She brings down the house with her physical comedic talents in the typing desk scene in act two. Roberts also brings a touching, moving aura to Millie, making her more accessible to the audience. And then there's that voice! The gal has a massive belt that hits the back of the Music Hall balcony. Her best vocal moment comes in the 11:00 o'clock number, "Gimme, Gimme" - pure vocal brilliance.
Matt Cavenaugh was on Broadway this season in the critically panned Urban Cowboy, playing the role John Travolta made famous in the original film. Cavenaugh had to carry this new musical on his shoulders, and sadly received some brutal reviews. But he has simply dusted off those arsenic barbs with his terrific performance as Jimmy, the man who wins Millie's heart. The actor has a lovely, solid tenor voice that is pure and clean. When you add his high energetic dancing and wonderful stage presence, you get a fantastic overall performance. Also delivering top drawer performances are Hollis Resnik as the evil Mrs. Meers, Andrew Pang and Darren Lee as her Chinese cohorts, and Diana Kaarina as the sweet Miss Dorothy. Pamela Issacs earned a Tony nomination for playing a hooker in The Life, but here she is decked out in sumptuous beaded gowns, furs, and jewels as the jazz chanteuse, Muzzy. While the role is horribly written bookwise, she does have a great song to sing in the first act, "Only in New York," which Issacs sings with a vocal power that brought the house down Tuesday night. However, the performance that almost stole the show was that of Sean Allan Krill as Trevor Graydon. This dashing, handsome, leading man has impeccable comic timing, energy, pace, and facial expressions that had this reviewer laughing constantly when Krill was on stage. His singing voice is soothing, solid, and does wonders in both the comedic and the romantic songs. He may look like a model, but Krill is able to transform that into a hysterical, scene stealing performance that will have you in fits of laughter. Finally, a round of applause to the extraordinary ensemble! The men and women that make up the Thoroughly Modern Millie chorus are the stars of the evening. This ensemble is filled to the brim with neverending talent and dance, and they sing, act, and possess glittering stage presence that makes this show a hit. They all add a great deal of energy to the production. I strongly suggest that you grab your jazz baby and rush to the Music Hall to enjoy a ravishing
musical that is first class all the way! Throughly Modern Millie, Dallas Summer Musicals at the
Music Hall in Fair Park through August 3. Call 214-631-ARTS for tickets. Thoroughly Modern Millie, National Tour Directed by Michael Mayer CAST: |
