Thoroughly Modern Millie: A Review
From directing previous productions of La Cage aux Folles and Showtime, Dominique Vitali has again upped the ante with the latest Pirates’ production, Thoroughly Modern Millie.
The Maison Syndicale in Dudelange (look for the OGBL signs outside) is a new venue for Pirates and the 350-seat auditorium lends itself very well to musical theatre in Luxembourg.
The setting is Manhattan in 1922 and Ciara Barker must take the plaudits for a series of wonderful period costumes, as well as Karl Pierce and Tina Gibson for the clever set design, including even revolving doors used in the second scene…
For regular attendees of such productions it was refreshing to see so many new faces (and hear so many new voices) on stage that the future of Pirates is well and truly secured. The blend of old and new was uplifting, as was the range and blend of characters on stage.
Julie Fraser simply stole the show as Mrs Meers, the scheming and sinister but hilarious hotel manageress. Her take on Chinese idiosyncrasies and OTT exclamations and expressions was a wonder to behold and yet tied the entire production together. She was ably abetted by Neil Johnson and Steve Wilkie whose grasp of both Mandarin and Cantonese, together their mannerisms, were both a revelation (expertly coached by Rose Flammant) and equally side-splitting.
But let this take nothing away from Phoebe Smith in the lead role a Millie who showed she can act, sing and dance, all at the same time and without missing a beat. From her entrance on stage in the first scene where her stage presence was electric, to her tap-dancing while seated in a stenographer’s chair (Allison Kingsbury’s choreography to the fore here), her confidence and professionalism helped ensure the performance will be remembered for all the right reasons.
Phoebe was ably abetted by another newcomer to the Luxembourg stage, Timothy Winters, whose charisma and exuberance combined to enable him to portray with panache young Jimmy Smith (Long Islander) who becomes entangled in Millie’s (Kansas’) discovery of the Big Apple.
Rota Ramanatsialonina’s sultry performance as cabaret artist Muzzy was like being at a West End production and while her lines could have been delivered with more confidence, this will undoubtedly improve with experience. Likewise, Elizabeth Venner’s operatic voice was a joy to behold while her voice could have been projected more towards the audience for he spoken lines.
Alex Teligadas’s performance as overbearing office boss and eligible bachelor Trevor Graydon was solid, with the scene involving a Dictaphone test for nervous Millie standing out, reminding some of us of studied Ronnie Barker delivering his unforgettable quick-fire lines back in the 70s.
The entire cast and backstage crew combined to make this yet another success from the Pirates team, with the live 26-piece Orchestra ably directed by Philip Dutton.
The production runs from this Tuesday to Sunday this week, with tickets available for some performances (see www.pirates.lu). Tip: arrive a few minutes early to find the car-parks (sign-posted)!
Geoff THOMPSON