[NEohioPAL]Berko reviews: THOROUGHLY MODERN MILLIE & VARLA JEAN

[Roy Berko]

‘THOROUGHLY MODERN MILLIE’ AT THE STATE AND VARLA JEAN
AT CPT

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


‘THOROUGHLY MODERN MILLIE’ LESS THAN EXPECTED

	At the 2002 Tony Award ceremony when ‘THOROUGHLY
MODERN MILLIE’ was announced as the winner of the Best
Musical there was an audible gasp in the audience.  It
was expected that ‘URINETOWN’ was going to receive
that coveted award.  Clevelanders who subscribe to the
Playhouse Square Broadway series will be allowed to
make the evaluation themselves.
	Having seen both shows, I know that I would have
definitely chosen the creative, tune-worthy,
staging-worthy ‘URINETOWN.’ I find MILLIE to be a
pedestrian musical with a weak book, a weaker score,
and repetitious music.  That is not to say audiences
will not like it.  They will, as was demonstrated by
the partial standing ovation the show received at its
opening performance in the local run.  Of course,
standing ovations in Cleveland are not symbols of
great shows or performances as they’ve become as
common as clapping.
	Based on the 1967 movie of the same name, the hokey
story-line of Millie centers on the arrival in New
York of a Kansas "hick" named (no surprise here)
Millie.  In contrast to the lead character in ‘42ND
STREET,’ the musical most like MILLIE, this cutie is
out to get a husband, a rich husband.  Millie
accidentally runs into Jimmy, a handsome young man,
while she is chasing a thug who has stolen her purse
and a shoe.  (Yes, one shoe.  Now do you understand
the hokeyness of this story?)   He is some "poor" guy
who doesn’t fall into her description of a future
husband (well, not yet).   Through a series of
incidents which include a kidnapping ring who capture
orphan Caucasian young ladies and ship them to the
Orient (I told you this was hokey), a young debutante
from "California" (the quote marks because, of course,
that is not true and unravels as the story proceeds),
a pair of Chinese who are working as part of the
kidnapping ring because they have been promised if
they cooperate their mother will be brought to the US
(can you believe that one?), a famous African American
female singer who married for money, and...well, you
get the point.  This goes on and on and on and doesn’t
get any better. 
	Songs from the show include "The Nuttycracker Suite,"
"Only in New York," "Forget About the Boy,"and the
four-time reprised "Not for the Life of Me." Never
heard of any of them?  That about summarizes the
score.  Oh, yes, there is the title tune, "Thoroughly
Modern Millie," and though it is included, it wasn’t
even written for this show, as were three other
numbers that are included.
	The cleverest parts of the show are when there are
actually take-offs of other musicals and songs.  A
Chinese version of Al Jolsen’s "Mammy" and a Nelson
Eddy, Jeanette MacDonald-like duet of "I’m Falling in
Love with Someone" are delightful.  Of course, they
have nothing to do with the story line, but who cares.
 Another "neat-o" shtick is a screen over of the
actors’ heads, which displays the English translations
of spoken and sung Chinese.  It’s like the Cleveland
Opera telling us what the words to ‘CARMEN’ mean.
	The touring production doesn’t use the State Theatre
stage well.  They usually perform in smaller venues,
so the scenery and movements scrunch in the action. 
The postage stamp design doesn’t work well.
	Even the dancing fails to make an impact.  Though
enthusiastically carried out by the cast, the
movements become boring due to repetition.  How many
flapper hand and foot movements can one appreciate?  
	The cast is adequate.  Darcie Roberts as Millie has a
wonderful voice, but not the infectious personality
and cuteness that is needed to captivate an audience. 
Matt Cavenaugh is handsome enough to portray Jimmy,
and his voice has good range, but a false attitude
takes the edge off the character.   Diana Kaarina as
Dorothy is Bernadette Peters cute and has a similar
voice.  Hollis Resnik’s Mrs. Meers, the head of the
kidnapping ring, becomes more and more irritating as
the show progresses.  On the other hand, Pamela Isaac,
as the rich chanteusse,  has a wonderful voice and
belts "Only in New York" with pizzazz.

CAPSULE JUDGEMENT: ‘THOROUGHLY MODERN MILLIE’ is a
pleasant-enough escapist piece of fluff.  If you liked
‘42ND STREET’ you’ll like this.  If not, wait for
‘URINETOWN.’  It’s a creative winner.

The show runs through November 16.  For tickets, call
216-241-6000 or 800-766-6048 or go on line to
www.playhousesquare.com.

VARLA JEAN MERMAN WAS BACK AT CPT

	Varla Jean Merman is a sensation on the drag queen
impersonation circuit.  Her third appearance at the
Cleveland Public Theatre, like her other
stays-in-residence, delighted the audience.  
	Her signature shticks: the hot dog puppet that
speaks, singing while shooting canned cheese whiz down
her throat, her double entendre tales, her allusion to
being the daughter of a moment of wild passion between
Earnest Borgnine and Ethel Merman, and the home movies
of her life, were all present. 
	I know it’s not her purpose, but sometime I’d really
like to hear Jeffery Roberson, who portrays Varla
Jean, just stand on stage and sing.  This guy/gal has
a wonderful voice.  But, like the late Victor Borge,
who was an accomplished pianist, Roberson has chosen
to settle on comedy as his vehicle to fame.  And,
there is no doubt he has found a positive means of
showcasing himself.  Varla Jean Merman makes for a fun
evening of theatre.  
	Next time Roberson is back in town, catch his act. 
You’ll enjoy yourself.
	Cleveland Public theatre’s next production is ‘MRS.
BOB CRATCHIT’S WILD CHRISTMAS BINGE’ by humorist and
satirist Christopher Durang.  It’s billed as
"something hilariously inappropriate for the holiday
season."   The show runs November 28 through December
20 in the Gordon Square Theatre.  For tickets call 216
631-2727.


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