Review: THE DROWSY CHAPERONE at Centre Culturel Jean Vilar

The International Players is a vibrant, volunteer-driven English-language theater company based in the western suburbs of Paris. Active since 1981, it is dedicated to bringing musicals, plays, and pantomimes to life for Anglophone audiences and theater lovers in the region. What began as a small community initiative by parents at the Lycée International de Saint-Germain-en-Laye has grown into a dynamic and truly international group, with members from across the world contributing a wide range of talents to each production. Beyond staging full-scale shows, the company also hosts workshops, play readings, and social events throughout the year, fostering a strong and enduring creative community.

It was therefore with high expectations that I attended their final performance of The Drowsy Chaperone on Saturday January 31 at the Centre Culturel Jean Vilar in Marly-le-Roi. Having followed the company’s work for several years and holding their productions in high regard, I am pleased to say that this show was no exception—it was such fun.

The Drowsy Chaperone itself has an amusing origin story: before it became a full-scale musical that went on to win five Tony Awards and enjoy international success, it began as a spoof of old-time musicals created for a friend’s wedding by friends intent on lovingly parodying Broadway conventions. The show’s humor springs from those roots, drawing on its affectionate satire of 1920s-style musicals and the exaggerated tropes that make them familiar and funny. These same characteristics were on full display in this production, with lovers, gangsters, mistaken identities, and a hilariously tipsy chaperone brought vividly to life on the Marly-le-Roi stage.

For all its silliness, The Drowsy Chaperone also reveals deeper themes of loneliness and nostalgia, particularly through the character of the Man in Chair, whose love of musicals becomes a poignant meditation on how art keeps us company. When he confesses that musicals make him feel less alone, the parody drops away, and the moment feels disarmingly real. This emotional pivot may be the biggest inside joke of all: the show gently mocks musical theater while simultaneously proving why we need it.

David Brown succeeded beautifully in his interpretation of the Man in Chair, anchoring the action with warmth and comic precision. It’s worth remembering that he is not merely a commentator but the principal character and instigator of the entire action—without him, there would be no show, as we experience everything through his perspective. In future productions, it might be interesting to explore more deeply his obsessional investment in the musical, particularly his fascination with starlet Janet Van De Graaff, as there is a certain magic inherent in the role. As Bob Martin has jokingly remarked, while the Man in Chair is not exactly him, he is not… not him either.

Alexandra Johnson was extremely well cast as Janet Van De Graaff, demonstrating strong musicianship, confident stage presence, and a clear understanding of her character. The rest of the troupe likewise interpreted their roles effectively and seemed to be enjoying themselves—an energy that translated into a thoroughly entertaining performance.

Under the insightful direction of Amanda Van Osdol and the creative choreography of Lisa Bidnall-Bowbery, the talented singing and acting of the troupe combined to give the audience a genuinely delightful evening.

Once again, The Drowsy Chaperone succeeded in charming its audience with its signature “mix-up, mayhem, and gay weddings.”

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