.
.
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.