“THOROUGHLY MODERN MILLIE,” through Nov. 23, Hale Center Theater Orem, 225 W. 400 North, Orem (801-226-8600 or haletheater.org); running time: 2 hours, 30 minutes (one intermission)
OREM — If you want to feel energized you can guzzle an energy drink, get a vitamin B12 shot or take a nap. Or you can attend Hale Center Theater Orem’s production of “Thoroughly Modern Millie” and leave on a musical high — with zero sugar crash.
No doubt, it’s a sweet show. In 2002 it garnered six Tony Awards, including best musical, and launched the career of Sutton Foster, who also won a Tony for her role in “Millie.” It’s fun without too much froth, silly without being childish and cute without trying too hard.
The story begins in 1922, and Millie, played by Brittany Sanders (M/T/F), is fresh off the train from Salina, Kansas, ready to take on life in New York City. She’s decided to reinvent herself as a “modern” — a woman who marries for money instead of love — and she sets her sights on finding a job with an eligible bachelor-boss.
Millie befriends Miss Dorothy, and they find themselves living in the middle of a scheme in which their landlord is kidnapping tenants — the orphaned ones — and selling them into slavery. Along the way Millie trips a guy, an average Jimmy, then subsequently falls for him. Alas, Jimmy, played by Josh Valdez (M/W/F), lacks the riches Millie has set her modern heart on, and a dilemma ensues, along with plenty of laughs and catchy songs.
Sanders was a spunky, animated Millie, and she sang reminiscent of Foster. She began the show strong with “Not for the Life of Me,” an ode to leaving her Kansas life behind, and continued through her last solo, “Gimme Gimme,” in which she has a change of heart.
During “The Speed Test,” Millie applies for a job as a stenographer for Trevor Graydon, played by Jacob Theo Squire (single cast). In this song, Millie transcribes a letter as part of her job application for Mr. Graydon, who is, of course, a potential fiancé per Millie’s plan. The rapid recitation from Squire — who was precisely and hilariously melodramatic in all of his scenes — and the tap dancing made this delightful number the point in which the audience really warmed up to the show.
Two other strong singers were Marcie Jacobsen (single cast), who played Muzzy Van Hossmere, and Rachel Peterson (W/Th/F), who played Miss Dorothy. Jacobsen’s rich voice filled the theater (and then some) when she sang “Only in New York.” Peterson let her soprano shine, particularly in “Ah! Sweet Mystery of Life/I’m Falling in Love with Someone.”
The villainess, Mrs. Meers, played by DeLayne Dayton (T/Th/S), was my 5-year-old’s favorite because “she was so funny.” You weren’t really rooting for her because of the whole human trafficking thing, but whenever her character was on stage there were guaranteed laughs.
Traditionally in “Thoroughly Modern Millie,” Mrs. Meers pretends to be Asian as part of her kidnapping ploy. This production decided to have Mrs. Meers impersonate a drawling southerner instead, which felt a little disjointed when she delivered lines about soy sauce, green tea and other “eastern” topics.
The art deco set was minimal, and it felt like it could have used some more interest and props, but it also boasted some clever details, like doorways and tables built into the set floor that emerged during certain scenes. The bare set paved the way for the audience to focus on stunning, sparkling costumes and frocks, which were surely the best part of the Roaring ’20s.
Between trapping Mrs. Meers in her evil scheme, tapping away her boy troubles and learning about life, Millie proves to be an unflappable flapper. Most importantly, Millie learns that money can’t buy love, no matter how thoroughly modern you are.
Content advisory: “Thoroughly Modern Millie” contains mild innuendo, mentions of human trafficking and drinking.