Legendary Broadway stories about the understudy taking on the lead role are usually the stuff of fantasy entertainment. In the musical 42nd Street, the iconic line is: “You’re going out there a youngster, but you’ve got to come back a star!” In 2002, Broadway had a real life “star is born” moment. Thoroughly Modern Millie opened with an unknown Sutton Foster in the lead, originally cast as the understudy but elevated to the starring role during the pre-Broadway out of town run. After instant fame and a Tony Award for Best Actress, what followed was an incredible string of on stage successes including The Drowsy Chaperone, Shrek, Anything Goes and Violet.
The Actors Fund announced a one night benefit concert for this show reuniting most of the original cast, so I had my chance to finally catch this piece. (The original New York Times review was so negative, I skipped the show the first time around. Thankfully, the internet encourages alternative voices. After reading Ben Brantley’s remarks now, they just sound mean-spirited and bitchy.) In this staged concert version, the audience was filled to overflowing with industry types. The result was possibly the loudest sustained applause and the most standing ovations I have ever witnessed. These people knew the show, loved the score and adored the actors. The environment was an extremely memorable combination of celebration and reunion, with a dash of Broadway magic.
So how does Millie hold up? In the 1920s, Millie leaves Kansas for New York as a modern gal to snag a wealthy husband (ideally a boss). She gets a room at a hotel for women (run by a former actress turned infamous white slave trader). Naturally Millie falls in love with a handsome but poor schlep named Jimmy (who has the invaluable skill of knowing the location of the “juice joints”). It’s all silly pastiche, expertly put over by a committed and talented cast.
Not all the songs and sections in Thoroughly Modern Millie are Grade A, but there are enough of them to make you smile, laugh and enjoy big Broadway fun. Harriet Harris’ Chinese dragon lady won her a Tony and she was truly hilarious. The choreography was inspired, particularly the typewriter tap dancing effect. Both Gavin Creel (Jimmy) and perfect caricaturist Marc Kudisch (the boss) showed why they were Tony nominated for their performances.
When Ms. Foster belts out “Gimme Gimme that thing called love” near the end of the show, this concert and its audience erupted into a frenzy of love and support, quite fitting for a charity event. Founded in 1882, the Actors Fund is a national human services organization meeting the needs facing the unique challenges for people with a life in the arts. Services include emergency financial assistance, affordable housing, health care and more. A worthwhile cause and a memorable evening that can only happen in New York. It’s what keeps the Millie’s coming here year after year.
www.actorsfund.org more.