Director: Abbi Burns
Musical Director: Jonty Banks
Choreographer: Sharon Stringer
Band conductor: David Blackwell
Sound: David Dallard
Lighting: Stephen Greatorex
BSL Interpreter: Thurs and Friday . Natasha Redfern.
The Drowsy Chaperone is a Canadian musical with music and lyrics by Lisa Lambert and Greg Morrison, and a book by Bob Martin and Don McKellar.
On arrival at the Duchess Theatre, audience members are greeted by a professional and welcoming front of house team, all in full glam, setting a calm and organised tone ahead of Central Musical Theatre’s production of The Drowsy Chaperone. The audience are slightly on the light side, considering Central’s reputation.
The production opens in the apartment of the Man in Chair (Chris Banks) who acts as both narrator and guide. It’s a simple premise. A chair. A record. A voice in the dark. Banks balances narration with subtle characterisation, as well as carefully orchestrated set movements. It’s an understated yet confident opening, with no rush for laughs or over-signposting. The production trusts the material, allowing humour to emerge naturally through rhythm and timing. The intimacy is striking, and the restraint pays off. The orchestration by Chris’s son Jonty, delivers some musical treats. I love an orchestra as confident and masterful as this one.
As the record begins, the modest apartment transforms into the world of a fictional 1920s Broadway musical. The story follows Janet Van De Graaff (Sarah Towle) a glamorous showgirl giving up her career to marry the earnest Robert Martin (Chris Moss) —but their wedding is anything but straightforward. Comic obstacles quickly unfold: a misguided producer tries to stop the marriage, two gangsters pose as pastry chefs, a self-proclaimed Latin lover attempts to seduce the bride, and the perpetually unimpressed chaperone struggles to keep everything on track. The story-telling By Chris Banks is a lovely mix of campness and pathos. It’s engaging and the glimpses into what the show means to him add depth and my personal understanding.
As the musical world comes to life, the shift is clear and well executed. Chris Margett’s set design is inventive—the wardrobe becomes a main entrance, the orchestra appears behind a window, and a worktop transforms into a biplane. While effective, a staircase or more detailed finishing on the blocks could have added further height and visual impact. Within the “musical within the musical,” the production leans confidently into the archetypes and tropes of the 1920s.
Towle’s Janet Van De Graaff is poised, polished, and full of star quality, delivering a performance that understands the parody without losing sincerity. Opposite her, Moss as Robert Martin brings earnest charm and impressive physicality, particularly in his tap sequences with best man George played by Gabryl Oleshko. Oleshko is a pleasure to watch—precise, energetic, and fully committed. At times, slightly clearer pacing in vocaL delivery would help with line clarity.
Laura Bigland’s Drowsy Chaperone is dry and controlled, with strong comic timing. This is a more reserved interpretation than often seen, and while the choice of an always-empty glass feels like a missed comedic opportunity, it doesn’t detract from the performance.
Supporting roles are well defined. Tony Luke’s Aldolpho leans into flamboyance, Lorna Kirkland’s Mrs Tottendale delivers delightfully absurd moments, and Tim Hand and Bridget Wyatt bring strong vaudevillian energy as the gangsters. John Wedgwood stands out as Underling, his deadpan delivery perfectly complementing Kirkland’s eccentricity. Adrian Redfern’s Feldzieg captures the frantic energy of a producer desperate not to lose his leading lady, with Ellie Carter’s Kitty providing a bright, sharply observed comic performance that never drops in character. The ensemble, though small, perform with cohesion and clarity. Sharon Stringer’s choreography is tight, stylistically appropriate, and well executed. Clarity is a real strength throughout. In a show built on parody, characters can easily become exaggerated to the point of confusion, but here each role is distinct and purposeful. Credit to director Abbi Burns for maintaining readability and control across a complex piece.
The arrival of Trix the Aviatrix—via the cleverly staged biplane—adds to the show’s deliberate absurdity, delivering exactly the kind of unexpected resolution the genre demands.
As the musical fades we return to the Man in Chair’s apartment and the tone shifts subtly. The comedy softens into something more reflective, with light relief from the Superintendent (Richard Symes), before settling into a more emotional conclusion.
Costumes curated by Marion Fisher are standout gorgeous. The attention to detail—from hair to footwear—beautifully captures the 1920s aesthetic and enhances character throughout. Sound, operated by Jack Clark and designed by Dave Dallard, is well balanced, ensuring clarity of both dialogue and music. Lighting, designed by Stephen Greatorex, is handled effectively, with well-timed cues supporting transitions between worlds.
Central Musical Theatre deliver a thoughtful and well-executed production of The Canadian musical The Drowsy Chaperone that understands its job, humourous tones, songs and trusts the writing. Perfect for a clever evening of family entertainment.
The Drowsy Chaperone runs at The Duchess Theatre Long Eaton until Saturday 28th March 2026
