Production of 'Millie' proved to be 'thoroughly' delightful
No big budget necessary- energetic cast is the key
By Cary Ginell Special to The Acorn

JAZZ BABY- Rosemary Blankson performs as Muzzy Van Hossmere in "Thoroughly Modern Millie."

The recent trend of turning a film musical into a staged Broadway show reverses the natural order of how these related genres usually work.

"Thoroughly Modern Millie," which is finishing up a six-week run at the Simi Valley Cultural Arts Center, is one example that underwent not only a translation but a transformation as well.

When the film version of "Millie" was produced in 1967, its star, Julie Andrews, was at the peak of her popularity.

With a couldn'tmiss supporting cast that included Mary Tyler Moore and Carol Channing, the Roaring '20s story about a wideeyed country girl's migration to New York City to look for wealth and a husband (in that order) became one of the biggest film hits of the year.

The years haven't been so kind to "Millie," however; the movie has failed to become a classic and has since been relegated to also-ran status in the lineup of classic motion picture musicals.

In the early '90s, writer Dick Scanlan was attracted to the film by its idiosyncratic characters and proceeded to adapt it for the stage.

A decade later, after a nearly complete revamping of the score and key plot elements, the new version made it to Broadway and was nominated for 11 Tonys, winning seven, including Best Musical and Best Actress.

What the Actors' Repertory Theatre of Simi Valley lacks in budget they more than make up for in sheer effort, enthusiasm and ingenuity.

Music director Gary Poirot skillfully arranged the show's score for keyboard, bass, drums and trumpet. Except for the frequent sour notes of the trumpet player, the band carried off its task without a hitch.

Costume design was excellent, both attractive and fitting for the period. Although sparse, the set design was economically executed, and despite the cramped stage the ensemble managed to do their steps without knocking elbows or stepping on toes.

The glue that brought the show together was Anna Graves, who played Millie Dillmount, the blond Kansas farm girl who arrives at the Hotel Priscilla (in reality a front for a white slave trade depot), dyes her newly bobbed hair red and sets out on the prowl for a rich husband.

Graves is luminous in the role, capturing the innocence yet growing worldliness that brings to mind the similar role of Charity Hope Valentine in "Sweet Charity."

Graves' scenes with the superb Ryan Neely as boss Trevor Graydon are reminiscent of the classic skits of Carol Burnett and Harvey Korman; they were hilarious in the Gilbert and Sullivan-inspired patter song "The Speed Test."

Other laudable performances were by Rosemary Blankson as Muzzy, the Carol Channing character (who, in the revival, doesn't get shot out of a cannon); Marla McClure as the sweet but fickle Miss Dorothy (a dead ringer for Mary Tyler Moore); and Farley Cadena as the scene-chewing faux Asian slave trader Miss Meers, whom you love to hate.

Other cast members of note included Cameron Fife as Millie's love interest, Jimmy (good dancer, great pratfalls, but a weak singer), and the delightful Wendy Kenny as the officious stenographer straw boss Miss Flannery, she of the symmetrically challenged hairdo.

With only two songs remaining from the original film (the title song and "Jimmy"), the score features new songs written by lyricist Dick Scanlan and composer Jeanine Tesori.

Replacing the period pieces in the original film was an equally eclectic variety befitting what you might hear in vaudeville shows of the time, including Victor Herbert's "Ah! Sweet Mystery of Life" and the Al Jolson classic "My Mammy."

Both songs are played for laughs, with the latter turning its now-perceived racism on its ear by being sung by the Chinese henchmen of Mrs. Meers, complete with supertitles.

I will not divulge the zany, plot-twisting culmination of the show, but suffice it to say, in its own wacky way, the story made complete sense in light of the shenanigans that preceded it. This version of "Millie" was "thoroughly" enjoyable.

E-mail, Ginell at soundthink@aol.com.