The Drowsy Chaperone

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The Drowsy Chaperone: A Jazz Age Spoof on the West End

The Drowsy Chaperone, a musical with book by Bob Martin and Don McKellar, music and lyrics by Lisa Lambert and Greg Morrison, premiered at London’s Novello Theatre in the West End on June 6, 2007, following previews from May 14. Directed and choreographed by Casey Nicholaw and produced by Kevin McCollum and Cameron Mackintosh, this Tony-winning satire ran for just 98 performances, closing on August 4, 2007. A parody of 1920s American musicals, it follows a theatre fanatic Man in Chair whose favorite fictional 1928 show bursts to life from a vinyl record. Starring Martin as Man in Chair and Elaine Paige as the titular Chaperone, its West End stint, though brief, showcased a gleeful send-up of Jazz Age tropes, earning Olivier nominations and a loyal cult following despite its commercial stumble.

Origins and West End Arrival

Born in 1997 as a stag-party spoof for Martin and Janet Van De Graaff in Toronto, the show evolved through the 1998 Toronto Fringe, a 2001 Canadian run, and a 2005 Los Angeles tryout before hitting Broadway in 2006, where it won five Tonys, including Best Book and Score. Its West End transfer, buoyed by Mackintosh’s faith after seeing it in New York, reunited the Broadway team at the Novello Theatre formerly the Strand fresh off *Avenue Q*. Bob Martin reprised his role, joined by Paige, Summer Strallen as Janet, and Joseph Alessi as Aldolpho. Despite its pedigree, the show struggled to find a London audience, closing after less than three months, a stark contrast to its 674-performance Broadway triumph at the Marquis Theatre.

The Plot: A Musical Within a Musical

Man in Chair, a reclusive musical buff, plays his cherished LP of the fictional 1928 hit *The Drowsy Chaperone*, narrating with wry asides as the story unfolds in his flat. Janet Van De Graaff, a Broadway starlet, plans to wed oil heir Robert Martin, but producer Feldzieg schemes to stop it, enlisting Latin lothario Aldolpho whose seduction misfires onto the boozy Chaperone. Gangsters posing as pastry chefs, a bumbling best man, and a ditzy hostess stir the pot, with mix-ups like Robert’s blindfolded roller-skate mishap and a faux-Asian detour via a misplaced record. The chaos peaks with a wedding-day romp think “Toledo Surprise” resolving in a gleeful nod to love and theatrical absurdity, all framed by Man’s bittersweet fandom.

Standout Performances and Staging

Bob Martin’s Man in Chair was a quirky delight, his agoraphobic charm anchoring the meta-narrative, while Elaine Paige’s Drowsy Chaperone vamped with gin-soaked gusto in “As We Stumble Along.” Summer Strallen’s Janet dazzled in “Show Off,” and Joseph Alessi’s Aldolpho hammed it up with “I Am Aldolpho.” Nicholaw’s direction paired David Gallo’s clever sets transforming a drab flat into a 1920s stage with Gregg Barnes’s glitzy costumes, evoking Jazz Age excess. The Novello’s intimacy suited the ensemble’s tap-dancing antics and slapstick, like “Cold Feets,” though its short run hinted at a marketing misstep Paige’s billing overshadowed its ensemble strength, per *The Guardian*’s Michael Billington.

Musical Score and Reception

Lambert and Morrison’s score parodies 1920s Broadway with zest “Fancy Dress” sets the tone, “Show Off” skewers divas, and “I Am Aldolpho” revels in camp, while “As We Stumble Along” lifts spirits with boozy cheer. Critics adored its wit *The Telegraph* called it “exquisitely honed” but some, like *The New York Times*’s Ben Brantley on Broadway, found the songs “forgettable” despite their craft. London reviews glowed *The Times* hailed its “intelligence” yet its 98-performance run baffled fans, earning only Olivier nods for Best New Musical, Choreography, and Costumes. A cast recording preserves its charm, a sleeper hit that stumbled commercially but won hearts, closing to a standing ovation on its final night.

Legacy Beyond the West End

Post-Novello, *The Drowsy Chaperone* toured North America from 2007, hit Japan in 2009, and landed in Melbourne in 2010 with Geoffrey Rush as Man in Chair. A 2010 fringe revival at Upstairs at the Gatehouse thrilled London fans, while a planned Rush-led film remains unmade. Its Broadway haul five Tonys, seven Drama Desk Awards contrasts its West End flop, blamed on poor marketing and a crowded market of film-based musicals like *Desperately Seeking Susan*. Licensing via Music Theatre International keeps it alive in regional runs, like Golden West College’s 2022 staging. By 2025, its cult status endures, a meta-musical gem that proves originality can shine, even if briefly, in Theatreland’s spotlight.

Why The Drowsy Chaperone Endures

*The Drowsy Chaperone* thrives on its clever parody and heartfelt nod to musical theatre’s golden age, a love letter to fans like Man in Chair. Its West End run, though cut short, showcased a score and script think “Toledo Surprise” and Aldolpho’s antics that balance satire with sincerity. Nicholaw’s staging and stars like Paige brought 1920s zaniness to life, resonating with those who crave theatre’s quirks over jukebox predictability. In a West End favoring safe bets, its originality was its downfall, yet its wit and warmth endure. Over 15 years on, it’s a reminder that even a stumble can leave a lasting tap-dance echo in musical history.