THOROUGHLY MODERN MILLIE is a very relatable story. It’s about a young person, Millie Dillmount, full of life and ambition, who has formulated a plan for successful, happy life and acts on it. She moves from her small country town in Kansas to the Big Apple with the goal, (her tunnel vision), to find a rich husband and settle down to have a family. She is not interested  in finding love, her only interest is in material security.

The first scene tells us, in no uncertain manner, that here is a woman who will  not be stopped. Walking the streets of New York, lost and distracted, she has a bit of an altercation with a stranger who tells her that she shouldn’t try her luck in the big city and she should go back home where she will be safe. Millie walks away and in an act of defiance tears up her return ticket and sings ‘Not for the Life of Me’.

This was an oomphy, fast paced, inventive and funny production helmed by Anthony Young. Young has chosen to set the play in contemporary times, exactly one hundred years later than it was originally set. It’s a fair call considering we have reality show such as ‘Married At First Sight’ on our television screens.

My favourite scenes were the office scenes with the cast ‘running’ onto stage with chairs and wearing bright blue wigs and sitting down and transforming,  by the use of mime, into speed typists.

Tap dancing featured in a number of songs and these scenes were skilfully and exuberantly performed.

Young was backed by a good creative team.

Kristy Hooper’s  choreographic design worked well with the dance sequences, of which there were many, performed with panache  and confidence.

Alex Cotton’s production design was excellent;  in collaboration with the director they have come up with a clever stage design. The stage is essentially empty at the beginning with an array of  props being used during the show, being deftly brought in and out by cast members and stage hands.

Susan Boyle’s flashy costume and wig  designs  were a treat.

Musical Director Jessica Manning  led an excellent orchestra providing great accompaniment to the cast. The show tunes stood up well with the title song being the stand out.

Young  wins good performances from his cast.

In the principal roles : Victoria Luxton features in nearly  every scene in the play and gives a radiant performance. Suzanne Chin showcased probably the best voice  of the night as Dorothy Brown. Aaron Pesic played the good natured Jimmy who  finally wins the love of Millie and there was a touching scene where Jimmy and Millie talk about their love looking down from a tower.

These were my favourites performances in the supporting roles.

Susan Boyle was suitably quirky as Mrs Meers playing the villain role as the owner of Hotel Priscilla who is involved in a white slavery ring in the Orient but who has a whole other double life.

Jacqui Greenfield played the sassy singer and bon vivant Muzzy, stepmother of Jimmy and Dorothy.

Alison Eaton was a stand out in the great comic role of Peg Flannery, the curmudgeonly head stenographer at Sincere Trust.

Thomas Brayshaw impressed in the role off the anxious, controlling boss of Sincere Trust.

Millysa Theda as Ching Ho and Yuxin Sun  was Bun Foo played Mrs Meers’ two helpers.

The reminder of the supporting  cast performed admirably.

Recommended, Mosman Musical Society’s production of THOROUGHLY MODERN MILLIE, book by Richard Morris and Dick Scanlan, new music by Jeanine Tesori with new lyrics by Dick Scalan, is playing the Zenith Theatre, corner MacIntosh and Railyway Streets, Chatswood with the closing performances this Saturday the 9th April at 2pm and 7.30pm.