Being based on a 1967 film set in the 1920s may not seem all
that modern, but it’s surprising how the musical Thoroughly Modern Millie (which premiered on Broadway in 2002) has
remained relevant. A comic pastiche of classic Broadway musicals, its narrative
follows the young Millie Dillmount as she moves to the Big Apple and plans to
marry for money rather than love. The feminist agenda – an independent woman
taking control of her destiny – is as ripe in 2015 as it ever has been.
It’s a shame, then, that this production feels half-baked. For
such a whacky show, the cast lack energy as they perform on a mostly empty Art
Deco stage. Francesca Lara Gordon’s Millie doesn’t quite have the zany yet
ditzy attitude to carry the plot; Ben Stacey’s Jimmy lacks masculine charm and
presence; whilst Chipo Kureya’s Muzzy Van Hosmere isn’t the scene stealing diva
you might expect. By contrast, Steph Parry’s Mrs Meers, with a dodgy
(intentionally) Chinese accent that borders on racist, feels over-egged – an outdated
villainous character from the show’s past that undermines its modernist themes.
Musically, the show follows this characterisation. The
capable band is minimal, playing a reduced orchestration that lacks oomph;
likewise, there are some sweetly sung vocal performances (from Gordon
especially), but it all feels too underpowered, too nice, too polite. The showstopping
numbers don’t have the razzmatazz or emotional depth to really wow.
That’s not to say the cast lack talent – far from it. They
just need to be pushed harder by director Matthew Iliffe, to heighten the
characterisation, to boost the vocals, to raise their game that bit further. This
is a young cast who don’t quite fit their assigned parts, though on the
periphery Christina Meehan shows great comedy in a variety of roles, both Charlie
Johnson and Thomas Inge are supremely skilled dancers, and Sarah-Marie Maxwell
has the characterisation of the giggly, klutzy Miss Dorothy Brown on point.
It’s in the ensemble numbers that the show eventually comes
alive, though these are too few and far between and sometimes feel too big for
the limited space of the Landor Theatre. Sam Spencer Lane’s Charleston-inspired
choreography is fast-paced and lively, performed with energy and sharpness by
the cast, whilst the tap numbers are skilfully danced. These moments prove that
Thoroughly Modern Millie is
thoroughly entertaining, though it could be so much more.
3/5
Watch: Thoroughly
Modern Millie runs at the Landor Theatre until 13th September.
Photos: Richard Davenport
