“The Drowsy Chaperone” Debuts as Tower Theatre’s First Fall Performance

The theater lights dimmed, hiding audience members seated apart and wearing masks, and darkening their view of the stage’s green crushed velvet curtain. After a few moments of silence, an actor’s voice rang out.

“I hate theater,” said Man in Chair, played by Liberty alumnus Rendell Kellum. With a burst of surprised laughter from the audience, “The Drowsy Chaperone” began.

The musical comedy is a show within a show. Wearing a cardigan and corduroys, sipping tea and munching on an energy bar, Kellum’s character plays for the audience his favorite record, the cast recording of a fictional 1920s era musical called “The Drowsy Chaperone.” 

That musical opens on the wedding day of Broadway star Janet Van De Graaf, performed by Kelsey Dial, and oil tycoon Robert Martin, played by Aaron Hall. Hijinks and misunderstandings ensue, helped and hindered by the titular tipsy chaperone, gangsters, a producer desperate to keep Janet onstage and self-proclaimed Latin lover Adolpho, played by Vincent Sadler with Gaston-like bravado, who flung fistfuls of rose petals.

“The Drowsy Chaperone” debuted without any complications from COVID-19

Acting as the drowsy chaperone, Sidney Borchers throws Janet Van De Graaf offstage to lead the ensemble in the rousing, almost profound anthem, “As We Stumble Along,” complete with an inexplicable procession of American flags. Hall and Dennis Hartman, who plays Robert Martin’s best man George, tap dance together in “Cold Feets,” and Hall swings Hartman in a backflip. Dial charms a snake, spins plates, drops into a split and makes a half dozen costume changes during “Show Off,” and partners with Hall, who roller skates through “Accident Waiting to Happen.” 

The actors do it all in a costume designers smorgasbord of fringe, silk, velvet, glitter, beads and tulle, and one monkey suit that makes a blink-and-you’ll-miss-it appearance.

Audiences would do well to keep an eye out for the ensemble, where each character is clearly defined in small, carefully detailed moments.

Man in Chair frequently interrupts to quibble with plot points or introduce actors. He gives the show a wry modern eye, but also relishes the musical theater cliches he skewers, humming along with his favorite songs and joining a few dance numbers. Bit by bit, he tells the audience why this particular show means so much to him.

“The Drowsy Chaperone” also means a great deal to many in the theater department. It is Liberty’s first show since COVID-19 shutdown productions, and some cast and crew members were not sure they would make it to opening night without COVID-19 cases derailing the production.

Man in Chair laughs to himself during the play

Director Andy Geffken gave a pre-show announcement at the preview night attended by students and faculty of Liberty’s theater department. It is a comedy, and Geffken reminded them to feel free to yuk it up and have fun. 

According to Man in Chair, musical theater should be “A little something to help you escape the dreary horrors of the real world.”

“We’re here. We’re finally here,” Geffken said. He prayed, thanking God for overwhelming faithfulness in allowing the show to continue. 

Then, to whoops and applause, Geffken said, “Alright guys. Enjoy the show.”

Esther Eaton is a Feature Reporter. Follow her on Twitter at @EstherJay10.

Leave a Reply

Your email address will not be published. Required fields are marked *