Thoroughly Modern Millie (2002 Original Broadway Cast)

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Free Music Notes for Thoroughly Modern Millie (2002 Original Broadway Cast)

Free Music Review: Good old-fashioned musical comedy!
Hit: 5 Stars

The credits for songwriting and lyrics on this recording state that Jeanine Tesori is responsible for "new music", and Dick Scanlan is responsible for "new lyrics" (the book, just to round out the list, was written by Richard Morris and Dick Scanlan). The particular choice of words comes from the fact that only about two thirds of the material in the score is completely original. The title song and "Jimmy" both come from the original film (though they were written by different people); "The Speed Test" is an adaptation of Arthur Sullivan's "Patter-Trio" from Ruddigore; "Muqin" is a Mandarin adaptation of Sam Lewis's "Mammy"; even Tchaikovsky gets put into the mix with a simmering version of his "Nutcracker Suite". Finally, we are treated to over-the-top versions of Naughty Marietta's "Oh! Sweet Mystery of Life" and "I'm Falling In Love With Someone" (by Victor Herbert). All of these songs, however, have been massaged by Scanlan and Tesori so that they fit into the context of the score, which seems to have been bathed in a Roaring 20s sensibility.

The story of Thoroughly Modern Millie was constructed as a loose parallel to The Wizard of Oz, with Dorothy replaced by Millie Dillmount (Sutton Foster), a young girl from Kansas who hopes to make New York City her Oz. The plot follows Millie as she plies her trade as a stenographer in the Big Apple. Taking dictation is just a step on the way to Millie's final goal: to ensnare the love (and money) of her wealthy boss, Mr. Trevor Graydon (Marc Kudisch). Millie is relentless, but she is derailed by her attraction to Jimmy Smith (Gavin Creel), and by Jimmy's apparent attraction to Millie's friend, Dorothy (Julie Connors). Add to the mix a subplot involving evil hotel owner Mrs. Meers (who runs a white slavery ring), her two Chinese immigrant assistants (both of whom want to bring their mother to America, and one of whom is smitten with Dorothy, who Meers wants to kidnap for use as a slave -- confused yet?), and frequent run-ins with a popular singer named Muzzy Van Hossmere (Sheryl Lee Ralph)... and you have the classic formula for an old-fashioned, unbelievably contrived, and highly enjoyable musical comedy.

The score sets a brisk pace right from the opening phrases of the overture, and where the music is not bold and brassy, it's gently boiling, or comic, or incredibly eager. Sutton Foster, who won this year's Tony for Best Actress, puts in a vocal performance that makes heads turn. From the opening "Not For The Life Of Me" through "Jimmy", "Forget About The Boy" and "Gimme Gimme", she nails note after note with incredible strength, clarity, and emotion. Most of the cast, including the generally celebrated Sheryl Lee Ralph, pale by comparison (though it may easily be argued that Ralph's two songs - "Only In New York" and "Long As I'm Here With You" do not take full advantage of her vocal ability). The other exception is Gavin Creel, whose rendition of "What Do I Need With Love?" is engaging, coming off with a refreshing effortlessness that is seldom heard anywhere.

Several of the songs in the show are comic: though Harriet Harris's work as Mrs. Meers does not allow her to belt like Ms. Foster, she puts in an admirable turn of Cruella DeVil-esque acidity, and "Muqin" (sung with her assistants Ching Ho and Bun Foo) is an enjoyable tribute to Jolson -- or it would be, if Jolson spoke Mandarin. "The Speed Test" takes the traditional Gilbert & Sullivan patter song and turns it on its ear; unlike G&S patter, however, "The Speed Test" starts with Thomas Graydon (Marc Kudisch) giving a dictation test, and ends as a company production number. Finally, the amusing speakeasy treatment of Tchaikovsky's "Nutcracker Suite" is to be admired.

Jeanine Tesori's original music is hummable, if a little similar throughout the score; if you are a fan of her earlier work, Violet, you will recognize some of the same musicality. Scanlan's lyrics, while suffering from occasional anachronism, are effective without pandering to easy rhymes. The orchestrations, by Doug Besterman and Ralph Burns, are firmly rooted in the 20s style, complete with big brass sounds underscored with banjo and ukelele. For the cast recording, some additional strings were added to the orchestra; these tend to be muted but give many of the slower numbers a fun movie house feel.

Thoroughly Modern Millie is a genuine, unabashed throwback to the style of musical theatre that was popular in the 20s and 30s. I believe there is a place for that style of music today, especially for those of us who retire to classics like Singin' In The Rain, Babes In Arms and Anything Goes for pick-me-ups on rainy days. If you're a fan of any of those, you're instantly a fan of Millie. If you're not a fan of those other shows, I can state with complete confidence that Millie will make you a fan of Sutton Foster.

Thoroughly Modern Millie (2002 Original Broadway Cast) Poster