If you missed Some Like It Hot, there’s another Prohibition-era musical currently playing at Theatre Passe Muraille—and it might be even hotter. Long before Canada’s Come From Away achieved international acclaim, The Drowsy Chaperone (book by Bob Martin and Don McKellar, score by Lisa Lambert and Greg Morrison) began as a 1999 Toronto Fringe hit, eventually earning five Tony Awards. It remains a warm, endearing piece that has aged remarkably well.
A charming, Mr. Dressup-like narrator, Man in Chair (Martin Julien), warmly invites us into his apartment. Jessica Balyk’s set evokes a sense of nostalgia through carefully chosen details—a small Tiffany lamp, a globe, a wall-mounted telephone, and white louvred closet doors—while posters of classic musicals like Oklahoma!, My Fair Lady, and Anything Goes line the walls. Just as the story seems rooted in the 1990s, we are transported into the world of his favourite musical via a recording on his turntable. Seamless lighting design by Jay Hines allows us to glide effortlessly between eras, with each performer illuminated at precisely the right moment, whether in a cameo or full ensemble number.
I appreciate how the framework of this “musical within a musical” feels both effortless and deliberately crafted. Each transition is handled with precision, clearly establishing shifts in time and narrative so that the audience remains firmly grounded in one world or the next. A particularly effective example occurs when the record begins to skip—a detail familiar to LP enthusiasts—prompting the ensemble to freeze as they repeat the same line (“Toledo Surprise”) in a loop. This device not only enhances the theatricality of the moment but also creates space for Julien to offer further commentary. Through these interjections, he deftly highlights both theatrical and societal evolutions over time, noting, for instance, how archetypes such as the comedic Latin lover Adolpho (Carlos Bastarrachea) are now often regarded as politically outdated.
Late in the performance, Julien continues to engage the audience by teasing about “a moment I’m obsessed with.” At first, it seems he is referring to the comic misunderstanding in which Adolpho mistakenly woos the titular Chaperone (Heidi Michelle Thomas) rather than the intended bride-to-be, Janet Van De Graaff (Juliette Schroeder)—a key element in vaudeville producer Feldzieg’s (Duncan Lang) scheme to prevent Van De Graaff from leaving show business for marriage. However, the anticipated “moment” proves to be more precise: a skipped line in the recording, occurring just as the chaperone attempts to offer Janet crucial advice about whether to proceed with the wedding.
Each member of this talented cast embraces heightened characterizations yet complements one another perfectly to create a striking ensemble. Highlights include the charming groom Robert (Ben Ridd) and his high-strung best man George (Liam McGibbon), whose anxious energy drives much of the wedding’s urgency. Equally compelling are the noble hostess with dementia Mrs. Tottendale (Jill Louise Leger) and her resigned butler Underling (Aiden Robert Bruce). A memorable scene involves the former repeatedly asking for vodka – by mistake – which she repetitively spits out until Underling is dripping wet! The ever-unpredictable chaperone’s entrances—martini in hand—remain a consistent source of delight. Of course, the alcohol is handled hush hush for the special occasion. Many cast members further enrich the production, from the physical comedy of gangsters disguised as pastry chefs (Benjamin Earl and Avi Petliar) to the silly and exuberant flapper Kitty (Lara Hamburg).
Shannon Murtagh’s choreography is both technically assured and energetically executed, an impressive feat within the intimate setting of Theatre Passe Muraille. The tap sequences, in particular, are dynamic and infectious, eliciting audible enthusiasm from the audience.
One drawback is frequent difficulty in discerning the lyrics sung by Schroeder, as well as by Trix (Johevah Cobby), whose role is pivotal to the resolution of the central plot.
Our pensive narrator-storyteller is the messenger of an unexpected throughline about aging. What do we do with the time we have left? How do we move forward without making choices we regret? Sometime the simple answers are right in front of our eyes. In the end, even Totendale and Underling realize they are the perfect match, choosing to tie the knot too!
In a chaotic world where more war is imminent, the love of a special something like a record indeed can soothe our hearts a little. What an entertaining vehicle to remind us.