I love an overture. Truly, the little amuse bouche of a musical’s score before you see the full production makes the first viewing all the more intriguing, and subsequent listens feel warm and friendly. Though they went out of fashion long before I was born, I do so love an overture. And I know the Man in the Chair from Bob Martin and Don McKeller’s (with music and lyrics by Lisa Lambert and Greg Morrison) The Drowsy Chaperone would agree. Shifting Ground Collective is reviving a Canadian classic, bringing The Drowsy Chaperone back home to Theatre Passe Muraille. Directed by Joshua רועי Kilimnik, this raucous musical comedy is a love letter to musical theatre and, more importantly, its most ardent fans.

What do you do when you’re feeling blue? When The Man in the Chair is stuck in the doldrums, he listens to his favourite record album – the (fictional) 1928 smash hit musical “The Drowsy Chaperone” – to help him navigate out. A hilarious romp of a story about an oil tycoon and a showgirl getting married, and everyone else who’s trying to stop them, it’s easy to see why this brings a smile to The Man’s face. Interjecting with his thoughts and opinions about the show, as well as fun and sometimes scandalous facts about the cast featured in the recording, The Man guides the audience with glowing enthusiasm. Though The Man’s life might not have turned out to have the same kind of everyone-happily-gets-married kind of ending like his favourite play, but it’s the ability to escape into this fantasy world of a musical which he holds dear.

The Drowsy Chaperone makes reference to the Winter Garden theatre throughout the text which acts as both a nod to the play’s Canadian origins and reference to the Broadway theatre. However, what we witnessed on that stage is worthy of either of these venues and then some. Jessica Balyk’s set design is an expert mix of functionality and style. There are several entrance and exit points (some where you’d least expect them) to aid in the farcical nature of the play within the play. Yet the apartment we see is adorned with old Broadway posters of well-known hits like Anything Goes or A Chorus Line and many more (not unlike my own bedroom wall of Broadway poster cards). We immediately get a sense for the level of passion that The Man has for musicals before he ever begins to talk about them, and there’s a coziness to it which is a perfect juxtaposition to the chaos which is occurring in the rest of the show. Gabriel Woo’s costumes are delightful, full of jazz-age glitz and glamour. Highlights for me are the rolling-pin holsters, the aviatrix’s shimmering pants, and everything that The Chaperone wears (and she is but one of many character with multiple costume changes). Add to it Shannon Murtagh’s high-energy and dazzling choreography with all the jazz hands you could possibly desire and the live band directed by Jo O’Leary-Ponzo, this is indie theatre at its absolute best.

Martin Julien helms the cast as Man in Chair, and he brings an unbridled joy to this show. There’s a warmth to this character which just makes you want to hunker in and listen to him talk all night. Juliette Schroeder and Ben Ridd star as Janet and Robert. Their chemistry is perfection and both have that ideal leading character swagger which they bring to their roles. Heidi Michelle Thomas’ Chaperone is the exact level of diva I wish I could attain, with every entrance being more hilarious than the last. Carlos Basterrachea G.’s Aldolpho is so delightfully unaware and is a hysterical agent of chaos within the play. Duncan Lang and Lara Hamburg have the most hilarious dynamic on stage as Mr. Feldzieg and Kitty; the two of them have such great comedic timing, and Hamburg’s physical comedy is off the charts. Avi Petliar and Benjamin Earl similarly provide expert physical comedy in their roles as the gangsters; everything from their accents to their mismatched costumes made for comedic gold. Tanner Hamlin’s soaring vocals and hilarious delivery make him a total hit as George. Jill Louise Leger and Aiden Robert Bruce probably have the most adorable and funny story lines as Mrs. Tottendale and Underling. Johevah Cobby flies in to save the day with grace and style as Trix, and I could listen to her sing all day long. This stellar cast is backed by a fabulous ensemble consisting of Kathryn Carter, Mona Hillis, Liam McGibbon, and Diego Teran.

I first saw The Drowsy Chaperone in 2010 at the Windsor Fringe…multiple times. I wish I had the availability to also see Shifting Ground Collective’s production multiple times. Like how The Man in the Chair is looking to brighten his spirits, The Drowsy Chaperone certainly brightens ours – I felt like I was floating home on a song. Shifting Ground Collective continually ups the ante with each of their productions, making me eagerly look forward to what they’ll do next. The Drowsy Chaperone has been given the most glorious of homecomings by Shifting Ground, and is certainly another feather in their cap.

The Drowsy Chaperone runs in the Theatre Passe Muraille Mainspace until March 21. For more information and tickets, visit: https://shiftinggroundcollective.com/drowsy/

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Cover Photo: Juliette Schroeder and the Company of The Drowsy Chaperone. Set Design by Jessica Balyk, Lighting Design by Jay Hines, Costume Design by Gabe Woo. Photo by Taylor Long.

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