Occasionally, I can’t stick to just one theme.  I’ve got show notes, memories, and impressions, but they can’t point me in one direction.  So, for the performance of Thoroughly Modern Millie by the Samford University School of the Arts, I’ve got several little things to say, rather than aiming for one big one.

(1) The performance was sponsored in honor of Jesse Bates – who directed me for at least one play back when I was in high school.  I vividly remember being about 16 and on stage rehearsing a monologue.   I hadn’t learned my lines (or at least I wasn’t confident I knew them) and I squabbled with Mr. Bates about it until he made me hurl my script across the room.  Whatever the argument, I’m sure he was right.  He’s also probably at least partly responsible for this blog, so thanks from me too, Mr. Bates.

(2) The program for Millie says “This is one of our largest productions in the last 10 years” – and I believe it.  I think it’s been almost ten full years since I saw a play produced by Samford.  So I honestly wasn’t sure what to expect.  But this Millie had lavish sets, lots of costume changes, and a live orchestra.  Whatever I was expecting, I got more – and that’s the way to do it.  My views on Theatre UAB are already in writing, but I think there may be a competition brewing.  How about getting these two groups together for a competitive-ish Festival of Ten-Minute Plays next fall?

(3) Speaking of getting more than you expected, there seems to be a lot of talent at Samford.  All of the performers in principal roles were at least good.  Chelsea Reynolds (as Millie Dillmount) deserves praise if just for being on stage almost every minute of every scene and keeping all that energy going the right direction.  Maggie Taylor (as Dorothy Brown) has a great voice and conveys a lot of subtle charm through mannerisms, squeaks, and gasps.  Hannah Seymour channels some Kristen Chenoweth in putting together an over-the-top and completely memorable Mrs. Meers (“So sad to be arr arone in the world….”).  Finally, Jordan Bondurant (as Jimmy Smith) might have been my favorite cast member.  Props to Mark Castle as Director.

(4) There were numerous photogenic moments.  That is, times when the actors (and/or chorus), lighting, costuming, and set all came together to blend into a pretty picture.  I wish directors would take note of these moments in advance, plan for them, and have someone intentionally take pictures – completely posed and not during a rehearsal – before the first performance.  Then make them available to the public.  This kind of photograph might be a great way to both sell and remember the show.

(5) The program also credits Roger Van Fleteren of the Alabama Ballet as guest choreographer.  A good choice, as I assume he’s responsible for what might have been my favorite moment of the night.  There’s a great duet between Maggie Taylor and Harrison Chambers (as Trevor Graydon) which I think was “Ah! Sweet Mystery of Life/Falling in Love with Someone”.  I’ve got almost no dance background, but I think – in the space of about two minutes – Roger combined several diverse styles and elements of dance.  I counted at least a tango, a lift, and a cool swingaround-of-some-sort, but I’m sure there were more.  I don’t know if these two had much (or any) dance experience before this, but now they definitely do.  Bravo.

(6) Another favorite was the idea of using the small, lowered screen – normally for opera subtitles – to translate the fake chinese spoken by actors Cody Hayes and Steven Rice for the audience.  These translations were so funny that the audience started laughing at first sight of the screen getting lowered.

(7) I couldn’t help but think it would’ve been cool for Shara Lewis (as Muzzy) to perform her songs as a burlesque fan dancer, but maybe that’d be a little much for a Samford production.  In that same vein, I got a kick out of a bunch of college kids doing the drinking and jail scenes.

(8) I’m not sure how they did it, but I wasn’t expecting as full of a crowd on Saturday night.  And a mess of students, I think.  I wonder how this show was advertised and sold.  If I got a birthday wish (Wednesday!), I’d make sure we all did whatever possible (even give ‘em away) to make sure there weren’t ever empty seats.

(9) All shows are definitely better with live music.  But, as I’ve said before, adding microphones doesn’t necessarily improve a show unless they’re flawless and don’t distract.  Why not just sing and speak louder?

(10) For more information, check out this article written by Tully Taylor (great name!) in The Samford Crimson.

Thanks to Lisa Gibbs and the Samford School of the Arts for letting me do a piece on their show.