The Drowsy Chaperone
The Drowsy Chaperone operates as a show within a show. “The “Man in Chair” is a catalyst for this arc, serving as the show’s narrator whose opening remarks reflect his broadway acuity and dejection. He assuages the latter by then playing an original record of a fictional, 1920s broadway musical, The Drowsy Chaperone. He remains on stage alongside the show’s cast, which includes showgirl Janet Van De Graff, her fiance, Robert Martin, broadway producer Feldzi, and confidante to Janet, the titular Drowsy Chaperone.
Throughout the entirety of the story, The Man in Chair frequently pauses the production mid performance to provide his commentary to the audience. Oftentimes, his feedback includes insight and critiques of the actors, musical numbers, and 1920s culture, which all attempt to remove viewers from the moment. Instead, both his remarks and his reactions during scenes accomplish the opposite, reaffirming the goal of The Drowsy Chaperone: to distance viewers from reality and immerse them in musical theater.
Throughout the musical, the audience is privy to the walls of The Man in Chair’s home which are adorned with Broadway memorabilia, including posters for musicals including The Lion King and Anything Goes. The production of The Drowsy Chaperone takes place between these walls which are located on the far right and left sides of the stage, serving as a visual for
viewers’ experiences. The audience, like The Man in Chair, makes space for the characters and storylines at the forefront of their minds, while acknowledging that they still retain awareness of real world conventions. A rudimentary example is merely reacting to dialogue. A joke for instance engenders laughter, reflecting both the understanding of the story and the audience’s ability to regard the performance from an outside lens. Spectators are not fully integrated into the story, like The Man in Chair is, but are cognizant and receptive to its efforts to make the
audience feel.
Even flagrant moviegoing offenses such as The Man in Chair’s phone ringing during a musical number are effective in immersing the audience. The Man in Chair quickly apologizes, acknowledging that phone usage “ruins” theater, which in turn, unites and urges the audience to further appreciate the story. In other words, viewers subconsciously become more inclined to distance themselves further from reality and remain engrossed in the production.
The following performance reinforces this detachment from reality, as Janet performs “Show Off”, a number in which she demonstrates her unwillingness to boast. During the song,
she undergoes a costume change, balances plates on sticks, and sings while drinking water. It is outlandish and comical, but once again compels the audience to become captivated by the song’s
sheer absurdity and humor. A potential hindrance to this engagement is the Drowsy Chaperone, who fittingly is asleep at the end of the stage. Her presence tests viewers. Will the audience
remain engrossed in Janet’s demonstration or focus on a character so disconnected from the storyline? However, even if one opts for the latter, the viewer is still contending with the characterization of the Drowsy Chaperone and the satire so integral to the story itself, which once again, plunges the audience further into the fictional world of The Drowsy Chaperone.
Other minor moments have a similarly ironic effect, including The Man in Chair oscillating between both ends of the stage during the musical. His movements seemingly come off as a distraction, but rather, they show his profuse excitement and like the Drowsy Chaperone, underscore his distinct character. Ultimately, The Man in Chair becomes a character within the story as well, and this is especially evident when he is onstage alongside the Drowsy Chaperone and Janet in later numbers. Though intended to distract, these moments truly inspire the audience to seize their excitement and place themselves in the show.
The Drowsy Chaperone’s goal of immersing the audience into the show is highly effective, providing viewers an escape from their daily lives. Regardless of one’s knowledge or connections to the musicals, the theme is universally felt and understood. If there is something captivating and fulfilling, one is encouraged to make the most of it, for The Drowsy Chaperone finds that these passions are not so distant and unattainable.
