Legitimate Theater: Thoroughly Modern Millie (2002)

Thoroughly Modern Millie

Welcome to Legitimate Theater: a column dedicated to movie-based stage musicals. The goal of this series is to explore those stories that originated in films and eventually worked their way onto Broadway and beyond. By the end of each entry, there will hopefully be a better understanding of this odd but rampant trend in modern entertainment. Are these stories really worth telling through song and dance? How can it even compare to the technical prowess of a camera and seamless editing? Join me on this quest as I explore the highs and lows of this trend on the third Wednesday of every month and hopefully answer what makes this Legitimate Theater.

Opening

Yesterday, the legendary actress Carol Channing passed away at the age of 97. Among her highlights was starring as the lead in the original Hello Dolly as well as earning an Oscar nomination for her work in the film version of Thoroughly Modern Millie. With this in mind, it seems like a good time to explore the later stage adaptation, coming around 35 years later and bringing with it several Tony wins, including Best Musical. While it isn't a direct homage to Channing's work, a lot of credit should be given to the performer's legacy in helping to shape the jazz age musical into what it eventually became. With big bombastic production, was there a need to update the story to the stage and was the additional music worth its weight? All things will be answered shortly.

A Quick Background

Tony Wins: 6 wins (including Best Musical) and 5 nominations

Based on: Thoroughly Modern Millie (1967)

Music: Jeanine Tesori

Lyrics: Dick Scanlan

Book: Richard Morris, Dick Scanlan

Prominent Actors: Sutton Foster, Gavin Creel, Harriet Harris, Angela Christian

Soundtrack

1. "Overture"
2. "Not for the Life of Me"
3. "Thoroughly Modern Millie"
4. "Not for the Life of Me Tag"
5. "How the Other Half Lives"
6. "Not for the Life of Me Reprise"
7. "The Speed Test"
8. "They Don't Know"
9. "The Nuttycracker Suite"
10. "What Do I Need With Love?"
11. "Only in New York"
12. "Jimmy"
13. "Back at Work"
14. "Forget About the Boy"
15. "Ah! Sweet Mystery of Life/I'm Falling in Love with Someone"
16. "I Turned the Corner/I'm Falling in Love with Someone Reprise"
17. "Muqin"
18. "Long As I'm Here With You"
19. "Gimme Gimme"
20. "Finale (Thoroughly Modern Millie)"
21. "Final Bows"

Note: Listen to the music here

Song Exploration

Opening Song:
"Not for the Life of Me"

Much like the movie it was based on, the show begins with an opportunistic song about wanting to become a city girl. Millie wants to be modern, and the show kicks into gear with a catchy and appropriate number that is rich with personality. It captures what the show will be, which is a nice mix of bubbly personalities and deep and witty lyricism. If nothing else, this is a great feel good number that makes one hope that what's to come is just as enjoyable and fun. Who doesn't want to have fun with Millie? She's clearly ideal in this situation.

Carryovers

"Thoroughly Modern Millie," "Jimmy"

In one of the rare instances in Legitimate Theater's run, it's a movie musical that's being adapted into a stage musical. While not a whole lot has been carried over, there are certain core songs that remain essential to the text of the story. In this case, it would be hard to remove the titular song, especially given that its Oscar-nominated quality is one of the most memorable moments in the film. Similarly, "Jimmy" is a fun little romantic number that captures the optimism in a way that is hard to ignore. The music is seamlessly integrated into the rest of the soundtrack, which is thankful. Even if you have seen the film, a lot of it does feel like there's songs that could've been there or you maybe forgot were in there. The execution is just that good.

High Point:

"Speed Test"

While the show as a whole is a delightful time, it does feel like there was a certain challenge in making this number. It wasn't just to add more upbeat music to the production. It was one that clearly alludes to greater spectacle. There's tap dancing, people singing so fast that you'll probably miss some lyrics. There's so much going on that this embodies the exact reason that this show would have any success. It isn't so much that it's retelling the story, but managing to capture the madcap 20's feel onstage in a way that is tangible to nostalgic audiences. Even if you didn't grow up in the 20's (which is increasingly unlikely), there's a good chance that the tropes embody some part of your memory. This song really does feel like stepping back in time in the best ways possible, though through a modern lens.

Low Point:

"They Don't Know"

While the soundtrack as a whole was pretty impressive, there were a few moments that didn't stand out as much. For instance, this slower song is a bit of a snag compared to the others. It probably makes sense in the context of the show, but on its own it doesn't capture the imagination in the same way that the other songs do. It serves purpose to the plot, but when you're dealing with so many upbeat and fun songs that capture a mood perfectly, it makes sense that one or two wouldn't quite reach that higher level of quality.

What Does It Bring to the Story?

The simple answer is more music. The rest of the elements seem to be firmly in place and create one of those typical romantic comedies plots. The one thing that is hopefully excised is the problematic racism of the Asian characters from the film. If so, that greatly improves the whole story. Beyond that, the musical adds a lot of music that enhances the characters and fleshes out supporting characters in a meaningful manner. More than anything else, it brings a life to the flapper culture that wasn't always there in the original soundtrack. It's more lively and engaging, also with more dancing. Flappers and dancing are a combination that should always go together. 

Was This Necessary?

Yes

For what it's worth, the original Thoroughly Modern Millie is a dated artifact of late-60's musicals (and among the weaker Julie Andrews vehicles). It was a low bar to begin with, especially given its dated approach to gender politics and racism. By updating it, it can edit out details and make the show more recognizing of the quality elements. It could focus on the performances and the energy, bringing to life dance routines that could bring spectacle. "Speed Test" alone sounds like it would bring plenty of fun to seeing it on stage. For a movie that feels inessential, it definitely inspired a halfway decent stage musical that clearly has inspired some fandom. It's just a relief that those adapting it kept all of the energy in tact.



Up Next: On February 2, it only feels right to celebrate Groundhog Day by doing (what else?) a special column on the musical adaptation of Groundhog Day.