![]() There’s something sad about the show, but gently so: Man in Chair is alone, and has been, in his past, a little lost, and he craves his memories of childhood simplicity that have since been locked like a time capsule into his records. Where things work out: where phones don’t ring to shatter your solitude, where the couple always reunites, where love is real and felt with (eventual) clarity. The Drowsy Chaperone hinges on that gift musicals have to spirit you away from your surroundings to somewhere a little better, nicer, or at least easier to bear. ![]() It’s a clever way to resolve the immediate staging issue, and it works. Everything is elegantly slipshod, conjured from thin air and mundane life: the characters fly that aforementioned plane with broom propellers and ironing boards, re-purposing Man in Chair’s framed art for in-the-air ambience. Blessedly, though, the show fits perfectly – in some ways even reinforcing the magic that lies behind its initial conceit of simply imagining a record to life. The Aviatrix’s plane isn’t about to fit on the Hayes stage. #DROWSY CHAPERONE BROADWAY AWARDS FULL#Tucking The Drowsy Chaperone, a show entirely constructed around the concept of a 1920s musical bursting to full and glorious life inside a New York apartment, into the cozy Hayes Theatre, might seem like a daunting feat. But it’s never felt sweeter or more necessary than it does now, in Sydney’s own Hayes Theatre. It has played Broadway and the West End, it’s won several awards, and it’s now so beloved that it’s slated to be adapted for film, with our own Geoffrey Rush playing the Man in Chair. ![]() The Drowsy Chaperone, a loving parody of 1920s musicals and a thank you to musical theatre for making life a little more bearable, is something of a recent classic. ![]()
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