The world premiere of the flapper musical Thoroughly Modern Millie is thoroughly old-fashioned in the positive sense of that term. When was the last time we saw a book musical begin with an overture (however brief) and launch into an exuberant dance number within minutes? This adaptation of the vintage Julie Andrews film wants to be the kind of fun-filled musical comedy they supposedly don't make anymore, and the good news is that it partially succeeds. But some chronic new-musical bugaboos show up here—namely, an uneven score and undernourished book. 'Tis a pity, because director Michael Mayer helms a gorgeously designed, well-cast production that overflows with high spirits and solid craftsmanship.
The stage adaptation of Ross Hunter's lavish 1967 Roaring '20s film has opted for a classy art-deco unit set designed by David Gallo, which is fluid and attractive without being excessive, well complemented by Donald Holder's lovely lighting design and Robert Perdziola's stylish period costumes. A wise attempt was apparently made not to dwarf the powder-puff of a story with elephantine production values. Nevertheless, Richard Morris and Dick Scanlan's trifling book registers as less than riveting, and the mostly routine new songs by Jeanine Tesori (music) and Scanlan (lyrics) are not as entertaining as the film's bouncy '20s standards that they replace (such as "Baby Face" and "Poor Butterfly").
The best song remains the charming Oscar-nominated title ditty, written for the film by James Van Heusen (music) and Sammy Cahn (lyrics), and reprised several times in this version. With one exception, the 1920s standards used here ("Stumbling," "Jazz Baby," and a Gilbert & Sullivan tongue-twister) make the best musical moments. The standout among the six new Tesori/Scanlan songs is the rousing "Gimme Gimme," which provides star Sutton Foster (Millie) her big diva moment. Michael Rafter's vibrant musical direction and Rob Ashford's sprightly choreography are major assets.
The creators have minimized the campy tone that dominated the film, which unfortunately simply points up the skimpiness of the material. The silly story follows the film closely until the climactic scenes, which include some nifty surprises. The plot involves Kansas-gal Millie's attempts to assert her thorough modernism by finding and marrying a wealthy boss in the big city, while befriending a demure wealthy actress wannabe, Miss Dorothy (the charming Sarah Uriarte Berry). The male romantic interests are Millie's dashing boss Trevor Grayden (amusingly played by Marc Kudisch) and her tireless suitor Jimmy (deftly sung and acted by Jim Stanek).
A goofy subplot revolves around the attempts of nefarious hotel manager Mrs. Meers (a hilarious Pat Carroll) to abduct young female residents for sale into white slavery, with the aid of two bungling Oriental henchmen Bun Foo (Frances Jue) and Chung Ho (Stephen Sable). The Carol Channing film role of daffy millionairess Muzzy is the hands of a much more subdued yet engaging Tonya Pinkins. As for the title role, Foster is an accomplished singer/actor, yet she never quite captures the mischievous, impish quality that made Andrews' film Millie such a joy. The scene in which she brazenly vamps boss Grayden is given short shrift here. One can't help but compare it to the far superior film scene, where Andrews slinks in with a Cruella De Vil type outfit, enormous lashes, and Theda Bara attitude.
This is the sort of confection that is consistently fun but seldom electrifying. Broadway ambitions are perhaps a bit optimistic, but Off-Broadway might be ready for the type of nostalgic period pastiche that once popped up there with regularity.
"Thoroughly Modern Millie," presented by La Jolla Playhouse at Mandell Weiss Center for the Performing Arts, La Jolla Village Drive and Torrey Pines Rd., La Jolla. Tues.-Sat. 8 p.m., Sun. 7 p.m., Sat.-Sun. 2 p.m. $21-47.50. Oct. 5-Nov. 12. (858) 550-1010.