Tuesday 29 Jul
Jul 30, 2014
Performing Arts Teen Creative Writing Classes Learn to captivate readers and take them on a journey into the world of your imagination through creative writing.  The class will work together to choose a genre, create a plot, develop cha ...
Jul 31, 2014
Performing Arts Shrek The Musical
SHREK THE MUSICAL, based on the Oscar® winning DreamWorks film that started it all, brings the hilarious story of everyone's favorite ogre to dazzling new life on the stage.

Jul 31, 2014
Performing Arts Children of Eden Musical based on book of Genesis, Act I tells the story of Adam and Eve, Cain and Abel, and Act II deals with Noah and the flood. ...
Performing Arts

A too-obedient 'Modern Millie' has technical issues and uninspiring choreography that diverts attention from a capable, pleasant lead

None April 8th, 2010

Thoroughly Modern Millie
8 p.m. Friday-Saturday, 2 p.m. Sunday
Through May 2
Pollard Theatre
120 W. Harrison, Guthrie
$25, $22 seniors/military, $15 students

Guthrie's Pollard Theatre presents a tepid adaptation of the Prohibition- set "Thoroughly Modern Millie," which won the 2002 Tony for Best Musical. The production could use more subversiveness.

Millie Dillmount of Salina, Kan., moves to New York City to seek her fortune "” that is, she wants to marry a rich husband. She checks into a hotel for actresses that is really a front for "white slave" kidnappers, and away we go.

You can't help but like Alex A. Hall as Millie. Hall, who has a pleasant, if not overwhelming singing voice, plays her as a gal with gumption and tenacity. When Millie gets knocked down, both literally and figuratively, she jumps right back up and forges onward.

The terrific Cory King gives the production much-needed energy whenever she is onstage as Miss Meers, a villainess of the highest grade. The rendition of Al Jolson's "Mammy," sung in Chinese by Miss Meers and her henchmen, Ching Ho (Charlie Monnot) and Bun Foo (James A. Hughes), with English translation in supertitles, is a droll oddity.

Jake DeTommaso does a fine job playing Jimmy Smith, Millie's love interest, and Kurt Leftwich, in good voice, as usual, and improving in acting, is her blue-blood boss.

The show seems squishy and never lands on solid ground, artistically or technically "” at least at it wasn't on opening night. The first thing one notices is James A. Hughes' funereal set design, in which the predominant color is black. Michael James' costumes largely follow the same lugubrious color scheme, with some notable exceptions: Terjuana Townes, as jazz singer Muzzy, looks like the Queen of Sheba in a white mink cape, for instance.

At the reviewed debut performance, the actors' amplified voices were out of balance with the orchestra too much of the time, rendering many lyrics unintelligible. Chelcy Costine's pedestrian, rather than enlightening, choreography consists mainly of popular, clich
  • Currently 3.5/5 Stars.
  • 1
  • 2
  • 3
  • 4
  • 5