![]() The ensemble includes Lindsay Blackman, Bethany Luhrs, Adam Luhrs, Rebecca Dean, Gennifer Grahnquist, Abby Herron, Riley Homes, Martin James, Justin Milner, Jessica Strong, Aaron Szindler and Will Treat. Feldzieg, Adrianne Hampton as Kitty, Andrew Bates as George, Kris Graves and Tim Campbell as Gangsters 1 & 2, and Brekken Baker as Trix. Tottendale, Brian Trampler as Underling, Kevin Schwartz as Mr. The cast includes Bernie Cardell as Man in Chair, Nancy Begley as The Drowsy Chaperone, Emma Maxfield as Janet Van de Graaff, Andy Sievers as Robert Martin, Jeffrey Parker as Adolpho, Jennifer Burnett as Mrs. If you missed the show this time around, stay tuned for more productions from the Lakewood Cultural Center they won’t disappoint. Some of the moments were a bit cringy, like the part where Cardell “accidentally” puts on the wrong record, and it’s a very racially insensitive play about Asian folks, but those moments are definitely intentional and meant to drive a point home about how some lovable old theatre doesn’t exactly age well. In fact, hearing from folks who were familiar with the show, Cardell’s pensive portrayal of the narrator and other little details in the dialogue actually added more depth to a sometimes-goofy show. ![]() The actors were all well-suited to their roles, and the set was really cool and captivating. The show is meant to be madcap and funny, and it was. There really isn’t much criticism to aim at this show. Cardell’s portrayal of the narrator is both funny and a little dark and sad, as he drops various clues about a failed marriage, a reclusive personality, a closeted identity, and a distaste for the horrors of the modern world. But don’t let the premise fool you there are some serious, sad moments in there as well. In short, it’s a mostly silly show, plenty of jabs at both modern life and old-school musicals. Mix in two lovers on the eve of their wedding, a bumbling best man, a desperate theater producer, a not-so-bright hostess, two gangsters posing as pastry chefs, a misguided suitor, and an intoxicated chaperone, and you have the ingredients for an evening of madcap delight. The recording brings the characters to life, and The Drowsy Chaperone begins as the man in the chair looks on. ![]() With the houselights down, a man in a chair appears on stage and puts on his favorite record: the cast recording of a fictitious 1928 musical. “ The Drowsy Chaperone is a loving send-up of the Jazz Age musical, featuring one show-stopping song and dance number after another. So what exactly is this show about? The synopsis from the press release gives a pretty good idea: He’s a lovable theatre nerd, so what better role than someone who wants to share their favorite fictional musical with the audience? If you’re familiar with Bernie Cardell , who usually works in a directorial role with Vintage Theatre instead of on the stage, you ‘ll know what a perfect role The Man in the Chair, the narrator of the odd tale, was for him. Thus began the emergence of black women in the music world, creating songs and records that were popularized and purchased by black and white consumers alike.If you were lucky enough to catch The Drowsy Chaperone at the Lakewood Cultural Center, you know what’s up-it was great. It is widely considered to be the first blues song on record, and after selling 75,000 copies within the first months of its release, "Crazy Blues" inspired an array of other recording companies to sign on black female blues singers. However, it was her song "Crazy Blues" that really shook the music world. Meg Young audition for Kitty and Janet in The Drowsy Chaperone, singing 'Toledo Surprise' and 'Show Off.'View the Dance Combination at. The company received threats of boycotting because of this, but that didn't stop Smith and her songs from becoming commercial successes. In 1920, Smith made the first recording by a black blues singer, but the musicians were still all white. ![]() Then, when she was 30 years old, she moved to Harlem to become a club singer. Smith began to work as a dancer at age 10, and when she was a teenager she danced in Salem Tutt Whitney's Smart Set. Mamie Smith was an American vaudeville singer, dancer, pianist, and actress who revolutionized the genre of blues music through her success as a black woman.
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