Davis Ballroom was in full swing on Nov. 17 to 19 as Duct Tape Productions took packed audiences back to the 1920s with their production of “The Drowsy Chaperone.”
This musical is a show within a show, as it centers around a man in a chair who is listening to a record of “The Drowsy Chaperone.” Once the music starts, the characters within the musical appear as they prepare for the wedding of Robert Martin, played by Ava Silverman ’24, and Janet Van De Graaf, played by Jenna Katz ’26J, later that day. The man in the chair interrupts with witty comments or background knowledge on this fictional musical as the characters come to life through tap dancing numbers or puns about baked goods.
Director Mia Gage ’25 wanted to put on this particular show as she believed it was a simple yet funny story that would provide a respite from the busyness of the outside world. She said of her production, “It was witty, exciting, self-aware yet self-deprecating, corny and above all else– entertaining!”
Gage and the rest of the cast drew some inspiration from Kecia Lewis, who originated Trix the Aviatrix on Broadway, through a talkback — a discussion about the play. “She offered many words of wisdom and advice to the cast, and provided some insight as to what the show meant to her,” Gage said. She noted that after this discussion she felt the show truly come to life, specifically in terms of actors’ energy and choices.
One directorial choice that stood out to audiences was her desire to lean into the outlandishness of the characters. Jenna Katz ’26J, who also played Janet, said, “The whole show is incredibly over-the-top, so it took a few rehearsals to really get into that exaggerated quality that makes Janet — and the rest of the characters — so fun to watch.”
Sammy Oster ’24, who played one of the gangsters who tries to disrupt the wedding disguised as a pastry chef, expressed a similar sentiment. He said of his comedic role, “Comedy is always so rewarding because you get this instant feedback; it just hits you.”
The show also struck an emotional chord, specifically through the story of the man in chair as he revealed aspects of his life, such as his agoraphobia and tumultuous divorce, that led him to feel such reverence toward the show. This peaks at the finale when the characters finally interact with and accept the man in chair.
Oster said, “It’s a really sweet number, and when the real stuff kind of peeks through the comedy, it makes both halves mean a lot more.”
Gage also explained that this number was the hardest to direct due to different interpretations of what truly happens to the man at the end of the show. She said, “Just because art means something different to someone else does not heighten or lessen its meaning to you, and I feel lucky to have had the opportunity to talk about art with such wise, caring, and dedicated people.”
“The Drowsy Chaperone” was a hilarious event filled with the exaggerated characters of 1920s Broadway and high-intensity dance numbers that were threaded together by the wit and devotion of the man in chair. Gage said, “The goal all along for me was to bring joy to the room with the art we created. I think we did just that!”
