Review: THE DROWSY CHAPERONE at Susquehanna Stage

If you're looking for a night at the theater that will leave your cheeks sore from laughing, Susquehanna Stage's production of The Drowsy Chaperone is the ticket to buy. Directed with infectious energy and impeccable comedic pacing by Tricia Corcoran, this delightful musical comedy embraces every ounce of absurdity in the beloved Broadway spoof, delivering two-and-a-half hours of pure, unapologetic fun. There is no heavy-handed message or hidden agenda here, just fearless, joyous entertainment that reminds us how wonderful live theater can be.

The Drowsy Chaperone affectionately spoofs the lavish Broadway musicals of the 1920s through the eyes of the reclusive "Man in Chair," who escapes into his favorite cast recording. As he drops the needle, his apartment magically transforms into the world of the musical, complete with gangsters, romance, mistaken identities, and enough hilariously over-the-top characters to keep the audience laughing from curtain to curtain.

Leading the evening is Josh Glacken as the Man in Chair, delivering a spectacular performance that anchors the entire production. Funny, charming, and effortlessly engaging, Glacken develops an immediate rapport with the audience, skillfully responding to their reactions and feeding off their energy. His performance feels fresh and spontaneous, making everyone in the theater feel like they're sharing the experience with an old friend.

As Mrs. Tottendale, Tara Beitzel is delightfully goofy, aloof, whimsical, and endlessly jolly. Her scenes sparkle with eccentric charm. Dave Anderson provides the perfect comedic counterbalance as Underling, playing the consummate straight man whose understated reactions and deadpan delivery generate enormous laughs.

The romantic leads are equally delightful. Jared Mattson is every bit the handsome young groom as Robert Martin, blessed with a beautiful singing voice and an unexpectedly dazzling ability to dance while wearing roller skates. Monica D'Imperio is exactly what audiences hope for in Janet Van De Graaff, combining graceful dance, strong vocals, and impeccable comic timing into a thoroughly winning performance.

Kyle Brim brings boundless enthusiasm to George, punctuated by energetic tap dancing and solid comedic instincts. Justin Rosenberger delivers an entertaining turn as Mr. Feldzig, keeping the frantic plot moving with confidence. Emma Buettner absolutely sparkles as Kitty, radiating bubbly energy and proving herself the perfect fit for the role.

Among the evening's biggest scene-stealers are Kristin Wolanin and Alyssa Crook as Gangster #1 and Gangster #2. Working in perfect synchronization, the pair exude personality, charm, and comic timing. Every entrance is greeted with anticipation because their scenes consistently become some of the funniest moments of the night.

Then there's Andrew Matseur as Aldolpho, who nearly brings the house down every time he appears. His outrageous physical comedy, exaggerated bravado, and delightfully ridiculous accent produce some of the evening's biggest laughs, leaving the audience roaring with laughter.

One of the production's strongest vocal performances comes from Elizabeth Rickard as the Drowsy Chaperone. Her rich vocals beautifully complement the humor of the role, creating a memorable performance that balances comedy with musical excellence. Gracious Mattson, as Trix the Aviatrix, proves the old theatrical adage that there truly are no small parts. Though her stage time is brief, Mattson's standout vocals make you wish she had more opportunities to shine.

The ensemble, Christy Blaisdell, Cameron Brosey, Kara Hartman, Jered Mackison, and Andrea Stephenson, deserves tremendous praise for holding the wonderfully chaotic story together. Constantly shifting between characters, they infuse every dance number with energy, fill the stage with life, and contribute immeasurably to the show's escalating hysterical pandemonium.

Behind the scenes, the production values are equally impressive. Under the musical direction of Ryan Dean Schoening, the band is outstanding, providing a polished, lively accompaniment that keeps the show moving effortlessly. Char Wilson's costume design perfectly captures the colorful extravagance of the era, adding another layer of visual delight to an already vibrant production.

Ultimately, Susquehanna Stage has created exactly what audiences need right now: a production that exists simply to entertain. It is outrageously funny, wonderfully performed, beautifully sung, and overflowing with heart. You'll laugh all night, leave humming the music, and remember why local theater can be every bit as magical as Broadway.

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