[NEohioPAL]Berko review: THOROUGHLY MODERN MILLIE (CAROUSEL)

[Roy Berko]

‘THOROUGHLY MODERN MILLIE’ lights up Carousel

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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

There is an old adage in the theatre, “The show must
go on!”  There are lots of legends about performers
going on stage in the midst of tragedies and
illnesses.   Carousel Dinner Theatre has a reality
tale to add to the list.  On Saturday, Hollie Howard,
who plays the title  role of Millie in Carousel’s
THOROUGHLY MODERN MILLIE,’ fell off the stage during
the afternoon preview performance of the show.   That
evening was opening night!  

What to do?  

In the make believe world of theatre, as exemplified
in such shows as ‘42ND STREET’ the understudy goes on,
does a smash-up job and becomes a star.  Well, that’s
not what happened at Carousel.  They mount their shows
in a week, so the understudy doesn’t really get to
learn her/his part until the show is running.

Howard, complete with taped ankle, went on after some
adjustments to the choreography.  Ironically, this was
not the first injury for this production.  Director
Marc Robin, early in rehearsals, tripped over a piece
of scenery, and hurt himself.  Opening night was his
first night off crutches.

Howard’s being hobbled hurt no one.  In fact, if the
announcement hadn’t been made before the show, the
audience wouldn’t have known the difference.  Howard
danced well, sang even better, and portrayed the role
to perfection.

In contrast to many musicals which are turned into
films, ‘THOROUGHLY MODERN MILLIE’ was first a movie. 
It opened in 1967 and stared Julie Andrews, Mary Tyler
Moore, John Gavin and Carol Channing.

In the early 2000s, the movie was adapted for the
stage.  It maintained the basic story line of the
movie but, in an effort to be politically correct, it
toned down the stereotypical traits of the Asian
characters in the film.  (Some will still find those
stereotypes offensive.) 

The plot revolves around Millie Dillmount, who, in
1922 comes to the Big Apple from Kansas determined to
marry her wealthy boss.  She sheds her country girl
image and becomes a “modern” flapper in order to hook
her man.  On her first day in NY, she accidentally
trips Jimmy Smith, an apparently ne'er-do-well paper
clip salesman.  Yep, you guessed it.  He isn’t a ne’er
do well, and in the tradition of trite musicals, after
a few obvious plot twists, they go off into the
sunset.  Well, into the bright lights of Broadway, to
live happily ever after.

The show, which is filled with lots of upbeat songs
and many dance numbers, including some great tap dance
routines, is dynamic, thanks to Robin’s setting a
lightening quick pace, clearly developing the
characters, and adding some fun gimmicks (such as
having the Chinese lines projected in English on
screens on the sides and above the stage).  But most
of all, he explodes the stage with creative
choreography.

The cast is excellent.  Howard brings Millie to
musical and dramatic life.  Brian Ogilvie is properly
wholesome as Jimmy Smith.  He dances and sings well. 
Donna Ryan is so bad as the scheming Ms. Meers, that
she is good.  Christin Mortenson effectively  lets
loose her big voice in “Only in New York.”  Lindsey
Clayton is fun as Miss Flannery, an uptight boss who
turns into a goodie.  Jim Sorenson is Broadway
handsome and effectively develops the over-bloated
Trevor Graydon, the richie on whom Millie has her
sights set.  Even the male dancers, who are often the
weak link in many musical productions, are excellent.

The music, the sets, the costumes all work.

CAPSULE JUDGEMENT:  Carousel’s ‘THOROUGHLY MODERN
MILLIE’ is everything that makes for good dinner
theatre...a sprightly production, featuring a well
chosen cast, guided by excellent direction.  If you
like theatre-light and don’t want to think a lot, but
have a good time, you’ll dance happily out of
‘THOROUGHLY MODERN MILLIE.’

‘THOROUGHLY MODERN MILLIE’ runs through April 28.  For
tickets  call 800-362 4100.  Show times are Tuesday
through Thursday evenings at 8:00 p.m., Friday and
Saturday evenings at 8:30 p.m. and Sunday evenings at
5 and Wednesday and Saturday matinees at 2 P.M. 
Matinees are on Wednesday and Saturday at 2.

PREVIEW:

In collaboration with Verb Ballets, Beck Center for
the Arts presents ‘SONG AND DANCE,’ March 16 through
April 7,  The show will be co-directed by Beck
Artistic Director, Scott Spence and Verb Ballets
Artistic Director, Hernando Cortez. Composed by Andrew
Lloyd Webber it was nominated for eight Tony Award. 
For tickets and information call 216-521-2540.


Roy Berko's blog, which contains theatre and dance reviews from 2002 through 2007, as well as his consulting and publications information, can be found at http://royberko.info
      
Roy's theatre and dance reviews appear regularly on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.  His reviews also appear on www.coolcleveland.com


 
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