Another successful Erin Smith-directed musical comedy, The Drowsy Chaperone, was a smash success at the RFA’s Lakeside Theater for the dates of July 27, 28, 30 and 31. It received a rousing response from each audience, clearly agreeing that there was nothing drowsy happening on this Broadway-infused stage.

Erin had been wanting to bring Drowsy to life for years and, after last summer’s triumphant Sweeney Todd, she got her wish. Erin’s deft hand at working the many levers of such a complicated production was evident in every aspect; from the music (with Sue Downes-Borko in as the music director), the set design, the acting, the choreography, all the way to the final bows, Erin’s devotion to details and love for live theater was center stage. She summed it all up, saying, “The cast and crew worked very hard and pulled off a spectacular show full of hilarity and fun.”

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Sue Downes-Borko returned to the RFA stage, after an all too lengthy absence, as the eponymous Drowsy Chaperone, combining equal parts cheesiness and ham to give her character a delicious bite. Sue’s voice soared singing the anthem to alcoholism “As We Stumble Along.” She seemed to especially relish her mating ritual with Aldolpho, the “King of Romance,” a once-in-a-lifetime experience.

This play-within-a-play-within-a-play dragged the social mores of 1928 through the modern prism of what we consider as grossly inappropriate by today’s standards. But it is satire and, therefore, should be allowed to scream “Fire!” from the stage even in a packed theater. The music and lyrics, by Lisa Lambert and Greg Morrison, and the book, by Bob Martin and Don McKellar, test the boundaries of acceptability with their deep dives into stereotypes, gender bending, misogyny, lothario-ism, alcoholism, dementia, mental health, loneliness, broken marriages, all tied up neatly in the pretty bow of hope. There’s hope for all of us who may be struggling in one way or another.

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The agoraphobic Woman in Chair, played by the one and only Brittany Wetherill, takes the audience by the nape of their neck, slyly escorting us from the opening to the conclusion like a devoted tour guide who eats, sleeps, and breathes everything Drowsy. Brittany left not a single character trait unrevealed, intermittently interjecting The Woman’s commentary to ensure the audience understood the cultural and philosophical importance of the unraveling plot, juxtaposed against the lives the audience members are actually living in the outside “real” world. Brittany’s performance was truly a tour de force.

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The principle roles are intentional caricatures. Tessa Marcotte, new to the RFA, delivered a show-stopping performance as Broadway ingenue Janet van de Graaf, cavorting about the stage with delightful delirium. Tessa’s vocal range, high-kicking frolicking, and intoxicating presence, leaves no doubt she will be “showing off” her talents for many years to come. Tessa’s years of theater experience brought a sense of cast camaraderie that elevated and kept the morale at a steady high all the way from the auditions through to the cast and crew party. Those in the know will attest to her dedication to the craft.

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Daxxtyn Williams played Janet’s dopey, love-struck beau, Robert Martin. There was an unbridled glee to Daxxtyn’s portrayal, biting into the comedic hide of Robert and never once loosening his jaw. He played Janet’s “little monkey” to the hilt, singing and hoofing his way across the stage like Broadway royalty. When Eric White, as Robert’s besieged best man George, joins Daxxtyn for “Cold Feets,” the homage to muscly tap dancing, we would have sworn the ghosts of Astaire and Kelly were beside them. Their feet performed feats this stage had never seen before this scene.

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Debby Higgins, as the memory-challenged Mrs. Tottendale, single-handedly has made spit-takes a respectable form of humor again. Debby lights up the stage, making the sun seem dim by comparison, every time she graces the Lakeside’s stage. And her sidekick in this production, Les Hoekstra, a longtime veteran of the RFA, as Underling, delivered his walk-on one-liners like a sniper from the balcony, never once missing their mark.

The pairing of Austin Hathaway and Angelica Woodward-Chavaree as the unlikely, but inevitable, couple wasn’t much of a stretch for this duo: Austin as the beleaguered Broadway titan Feldzieg, and Angelica as the unflappable flapper Kitty, both sought the same grail of entertainment, longevity and fame. We predict both for Angelica and Austin.

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Michaela Beckmann and Ben Wetherill were loaded pistols as the gangsters posing as bakers. These two shot out puns like “Chicago Typewriters,” fast and deadly, and danced as if a graceful swan had befriended a walking thumb, with a delightful outcome. Michaela could have performed the entire play solo had the cast come down with the flu, she’s that good.

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The set design was seemingly simple but there was nothing simple about having an actual Murphy bed to open and unopen. Between Janice Adler’s and Val Zapolsky’s collaborative efforts, the audience was taken to The Woman’s apartment to witness The Drowsy Chaperone coming to life, with all the main characters entering the Woman’s living room through the refrigerator.

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The rest of the ensemble performed as the essential vertebrae that every backbone needs, and this play had one strong back. Kaitlyn Hammon as Trix the aviatrix, “so butch she makes Amelia Earhart seem like a princess.” And the dance and chorus ensemble of Averie Flewelling, Ana Orazi, Shirley Truland, and Audrey Sutherland, gave the group numbers pizzazz and punch.

Andrea Keirstead was the pianist leading Victor Borko at percussion and Ronald Small on tuba. The pit singers, the pitties, were Dale Nagle, Pam Ellis, Dan Johnson, Laura Sadler-Haperink, Jeanie Brown, and Flora Pirquet. Music from the gods.

Millie Hoekstra guided the production, like the North Star she is, once it entered the theater, after weeks of long, grueling practices at the Congregational Church’s Barn, with help from stagehands Autumn-Skye Williams and Troy Hathaway, and Ollie Sherrer applying the makeup.

Up in the tech booth was Justin Orazi (light chieftain), Rowenna Hathaway, and Alex Hathaway. Abe and Theresa Fast gave us sound.

Thank you to massage therapist Tina Falasco for her sponsorship, and the many others too numerous to mention here. You help to bring the arts to life in our small, backwoods community. In the immortal words of the Drowsy Chaperone herself, “L-ve while you can.”

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