Thoroughly Modern Millie

The Fox

It’s December, the holidays are nipping at our heels like Sir Charles Baskerville’s spectral hound, and the Fox is celebrating early with a big basket of Christmas marzipan called Thoroughly Modern Millie. Like the various holiday treats that adorn our tables these days, this 2002 Tony-winning send-up of the 1920s is sweet, brightly colored, easy on the eyes, and so light that it threatens to float off the stage. It’s not Great Theatre but it is great fun. What more could you ask for on a chilly December night?

Well, you could ask for a really talented, energetic young cast to keep this soufflé of a show interesting, and happily that’s just what you get in this tour. Darcie Roberts – who was so impressive in the otherwise mediocre Copacabana last year – is a knockout as Millie, straight out of Kansas and determined to take New York City by storm by being “thoroughly modern” and marrying for money instead of love. Roberts has a strong, clear voice and a fine sense of comedy that reminded me of the young Carol Burnett. She’s nicely matched by Matt Kavenaugh - who makes the irrepressible Jimmy every bit as brash and likeable as he should be – and Sean Allan Krill as Trevor Graydon, the tycoon on whom Millie has set her sights, if not her heart. The moment he appears on the set, Krill’s body language and Dudley Do-Right smile tell you everything you need to know about this clueless and terminally prim character.

Diana Kaarina is a hoot as Millie’s excessively sweet friend Dorothy and Hollis Resnik stops the show more than once as the exuberantly villainous “white slaver” Mrs. Meers, whose designs on Dorothy threaten to disrupt everyone’s lives. Darren Lee and Andrew Pang are also solid as her reluctant Chinese henchman, joining her for a hilarious rendition – in Mandarin, no less – of a certain classic from the ‘20s, which must remain nameless in order not to spoil the joke. For my taste, Pamela Isaacs lays it on a bit thick as socialite and jazz singer Muzzy van Hossmere, but the opening night audience loved her all to bits, so what do I know?

The book for Thoroughly Modern Millie was adapted by the late Richard Morris from his own screenplay for the 1967 film of the same name, and completed by lyricist Dick Scanlan. It drags a bit setting up plot mechanics in Act I (which, as I recall, the film did as well) but zips briskly to an appropriately absurd conclusion after intermission. The score is a collaborative effort as well, with two numbers from the original film – the title song and “Jimmy” – joined by nine new efforts by Jeanne Tesori, all but two of which – “Not for the Life of Me” and Millie’s big second act solo “Gimme Gimme” – are largely forgettable. There’s also a Gilbert and Sullivan patter song (“My eyes are fully open” from Ruddigore, to be precise) with new lyrics by Scanlan that accompanies an ingenious typewriter tap routine, some hits from the ‘20s, a pair of Victor Herbert chestnuts roasting on an open fire, and even a lubricious speakeasy ballet set to jazzed-up melodies from The Nutcracker arranged by Tesori. With that many cooks, you’d think the musical broth would be spoiled, but it actually blends remarkably well.

Rob Ashford’s choreography, which smoothly combines period dance moves with something that I’d describe as “Fosse lite”, gets precision performances by the principals and chorus, and Michael Mayer’s direction moves things along smartly. As a result, the show feels much shorter than its two and one-half hours and a splendid time was apparently had by all.

The bottom line is that Thoroughly Modern Millie is a funny, colorful confection of a show. It aims only to please and succeeds admirably. Whether or not that’s worth a top ticket price of $64 is your call. Go expecting to have a good time and you will; go expecting innovation and you’ll be disappointed. There is, ultimately, nothing particularly modern about this Millie.

Thoroughly Modern Millie runs through December 14th [2003] at the Fox in Grand Center. Call 314-534-1111 for tickets.

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