As he listens to this rare recording, the characters appear in his dingy apartment, and it is transformed into an impressive Broadway set with seashell footlights, sparkling furniture, painted backdrops, and glitzy costumes. Man in Chair, a mousy, agoraphobic Broadway fanatic, seeking to cure his "non-specific sadness", listens to a recording of the fictional 1928 musical comedy, The Drowsy Chaperone. An out-of-town engagement followed at the Ahmanson Theatre in Los Angeles (2005), and after alterations, The Drowsy Chaperone opened on Broadway on. The reading captured McCollum's interest and eventually resulted in Miller, McCollum and Bob Boyett, Stephanie McClelland, Barbara Freitag and Jill Furman committing to producing the play. With Canadian actor and fund-raiser Paul Mack, Miller produced a reading for the New York's National Alliance for Musical Theatre on 5 October 2004 – and invited Broadway producer Kevin McCollum. Miller saw potential in the show and he optioned the rights. During that production, Linda Intaschi, Associate Producer of Mirvish Productions, invited New York producer Roy Miller to see the musical. Box office success and favourable notices led Mirvish in 2001 to finance further development and produce a full-scale version at Toronto's 1000-seat Winter Garden Theatre. įollowing the Fringe staging, Toronto commercial theatre producer David Mirvish financed an expanded production at Toronto's 160-seat, independent Theatre Passe Muraille in 1999. When the show was reshaped for the Toronto Fringe Festival, Martin became a co-writer, creating Man in Chair to serve as a narrator/commentator for the piece. In its first incarnation, there was no Man in Chair, the musical styles ranged from the 1920s to the 1940s, and the jokes were more risqué. The Drowsy Chaperone started in 1997, when Don McKellar, Lisa Lambert, Greg Morrison and several friends created a spoof of old musicals for the stag party of Bob Martin and Janet van de Graaf. 6.4 Subsequent North American productions.
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