Holly Spanner reviews Thoroughly Modern Millie at The Grand in Leeds….
Set in the roaring twenties during the prohibition, Kansan Millie Dillmount is looking to start a new life for herself in New York. She reinvents her image and thanks to her speedy transcribing skills lands a job as a secretary, setting her sights on one of the richest and most eligible bachelors in the city, who just also happens to be her boss Trevor Graydon III. Whilst in New York City, Millie stays at the women-only hotel, the Hotel Priscilla, run by flamboyant hotelier Mrs. Meers. It soon becomes apparent that the kindly Mrs. Meers is actually at the centre of an illegal operation, kidnapping orphan girls and selling them into slavery in the orient.
The set is as would be expected for the era; art deco in style with monochromatic golds and just a touch of shabby chic. It is aesthetically pleasing, and the occasional shimmer adds class and glamour, while Paul Gould’s lighting adds sparkle and pizazz.
Professional dancer on Strictly Come Dancing, Joanne Clifton in the title role is feisty, flirty and very funny. Not missing an opportunity to show off her fancy footwork, she makes the tap numbers look effortless, and you can’t help but love her. Katherine Glover as the wide eyed Miss Dorothy, Millie’s best friend, is a beautiful soprano, her voice radiating joy as one who is in love with life, especially in her duet with Mr. Graydon, Ah! Sweet Mystery of Life/ I’m Falling in Love With Someone.
Jenny Fitzpatrick as showgirl Muzzy Van Hossmere has a silky, sensual voice that oozes sophistication and a stroke of genius comes with casting Graham MacDuff’s as Trevor Graydon, the no-nonsense head of insurance company turned lovesick drunken fool. Hilarity ensues in the second act, much to the delight of the audience, in a physical performance that feels improvised and only gets funnier the longer he continues.
There has been a cast change since earlier in the tour; Michelle Collins as Mrs. Meers replaced by Lucas Rush. A smart decision, as it veers the character away from the offensive and towards the comical, yet evil male villain using drag as a disguise. In making this change, the production has succeeded in addressing one of the fundamental flaws in the narrative which haunted earlier venues on the tour.
With exaggerated gestures, overacting and a little slapstick thrown in for good measure, there is a touch of pantomime about this production. This is not necessarily a bad thing, the twenties was the era of expressionism after all. Overacting was common in silent movies; actors delivered larger than life performances for emphasis, which of course were all the rage until the first ‘talkie’ in 1927.
If you head along to The Grand looking for a light hearted, fun musical with great tap routines and you will not be disappointed.
I find it remarkable how you can write a whole review about this show and not mention the actor playing Jimmy Smith – I thought Sam stole the show