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Thoroughly Modern Millie 
Book by Richard Morris and Dick Scanlan New Music by Jeanine Tesori New Lyrics by Dick Scanlan Directed by Michael Barnard 
Phoenix Theatre, Phoenix
(602) 254-2151
September 13th - October 8th, 2006
$31.00 - $36.00 


Reviewed 9/22/06

IÕve been doing this for too long, which is why every once in awhile itÕs wise to bring along a fresh set of eyes. My companion for Phoenix TheatreÕs latest fluffy production, Morris, Scanlan, and TesoriÕs flapper and white slavery tuner Thoroughly Modern Millie was an acquaintance from work who had never seen a live theater piece. She had no idea what to expect, and I had every idea what was coming. However, watching her awe and excitement at Nathalie EllisÕ breathtaking performance, Michael BarnardÕs always polished direction, Robert Kolby HarperÕs regularly impressive choreography, and especially her delight with the flashy period costumes reminded me just how professional and crowd-pleasing PT can be. IÕve been prone to gag by reflex on too much sugar, but thatÕs what comes from sitting through an average of 90 shows a season for over 10 years. PTÕs production of Millie is a triple threat, a visual and aural treat, and sells itself shamelessly. ThatÕs PTÕs mission statement, and its virtue and strength.

MillieÕs ensemble, design crew, and helmers are at the top of their games. BarnardÕs ragtime pacing is relentless, which is good at keeping us from actually noticing the flimsiness of the plot. HarperÕs high-stepping and toe-tapping choreography compensates for a generally forgettable score which is performed with gusto by Alan RuchÕs offstage band. Ellis continues proving even more the musical theatre star as she directly confronts and charms the audience and then wows them with her trilling soprano and spot on dancing. She has a great connection with her opposite number, Michael Sample as the gadfly Jimmy. Sample is genial and a centering presence that can hold his own. The design element is full of nice little touches that make the show even more of a spectacle, with great sets by Jim Hunter and colorful, explosive lighting by Michael J. Eddy.

 

The strength of the show is complete nearly throughout, as proven by most of the other principles and the ensemble. Of particular note are Kaitlynn Kleinman as MillieÕs best friend Miss Dorothy and Andrew Ragone as MillieÕs very Dudley Doright-like millionaire boss Trevor Graydon. Kleinman and Ragone have a duet that stops the show and holds it hostage until they are done milking it. The only weakness of the principles is Terey Summers as the evil Mrs. Meers. A broad and blowsy performer in her own right and very creative when held in check, Barnard has allowed her to overreach for laughs in ways that are initially hilarious, but soon prove to be repetitious and annoying. The remainder of the group supporting these leading players is polished and perfectly in synch.

ItÕs broad, itÕs loud, and it has a professional sheen that is now standard at Phoenix Theatre. This is another audience pleaser from a company that knows what it takes to bring Ôem there and back, a fact to which my eager companion could attest. ÒAre all the shows you see like this?Ó she inquired as we exited to the lobby. In this town? No. At this theatre? More and more so.