Grandma Bert took Modern Millie head on and transformed that mixed-up little Kansas girl into an independent, funky Big Apple flapper.
Linda “Bert” Berthiaume gave an inspired performance Wednesday that featured show stopping songs; high-kicking dances, a bittersweet romance and lots of laughs.
She did everything from belt out high notes to a body-boggling, slow-motion split from an office chair down to the floor. It all happened in “Thoroughly Modern Millie” at Savannah Center. The musical runs again Thursday and Friday at 6:30 p.m.
Bert, at various times on stage, was sexy, innocent, hot and cool while giving a career-defining performance. And she had plenty of remarkable assistance from a deep and talented cast.
Gail Baumann nearly stole the show with a hilarious and outrageous performance as Mrs. Meers, a frustrated actress running a hotel and in cahoots with a white slavery ring. Baumann’s phony Chinese accent and percolating stage movements were a joy to behold. She demanded attention and brought the house down singing a fractured language version of “Mammy.”
Jack Filkins as Millie’s socially-mixed up boss, was funny while being dazed and confused all night long.
Carter Poust as Jimmy, Millie’s nemesis and eventual love interest, gave a polished and tight performance with his elegant dance moves and smooth vocals.
Sally Spieth radiated warmth, innocence and vocal charm as Millie’s pal and roommate Miss Dorothy Brown.
Another dynamic comedic effort came from Mollie McCarthy. She sported a wild, red hairdo that looked like a lopsided Bride of Frankenstein. McCarthy, an underrated comedienne, brought a bitchy joy to the role of office boss Miss Flannery.
Donna Francis as Muzzy, nailed the role of an experienced Red Hot Mama and she brought plenty of life and soul to a couple of songs.
And let’s not forget Frank Olive and Andy Malinosky as Mrs. Meers’ forced Chinese labor crew, working hard to bring back mama from Hong Kong. They, too, made the song “Mammy” a show-stopper.
Ultimately, though, Millie is the central character and the engine that makes this play run. This is a musical about a woman coming of age, finding her independence and understanding what love really means.
That’s fiction, but in real life, Berthiaume, 62, is at her own emotional crossroads. Her daughter is moving near The Villages and Bert wants to take care of her two young granddaughters.
Bert says, “Modern Millie,” will be here last major stage appearance here. “I want to be a Fat Grammy, stay home and take care of my babies,” she said after the show, surrounded by well-wishers.
Sandie Hawthorne, who directed “Millie,” is hoping Bert changes her mind.
“Listen,” Hawthorne said, “Bert can be a Grandma and Bert can get fat but Bert is going to have to come back to the stage. Bert was wonderful tonight. Bert is my star and I want to see more of her.”
The same could be said for the rest of the cast, which included nearly 40 Villagers.
“These people worked so hard and I’m very pleased,” Hawthorne said. “They were more than ready to perform before a live audience.”
Hawthorne gave special mention to Gail Baumann as Mrs. Meers. “It’s a tough role and she made it work,” Hawthorne said. “She’s been around and knows her way around a stage.”
“I never played an evil role before and Mrs. Meers is so evil,” Baumann said. “I wanted to bring her to life and show her human side. She may be evil, but she’s funny.”
The music and dance was extraordinary thanks to choreographer Helene Yelverton and Jean Butler, who directed a 20-piece orchestra. “I’m thrilled with the dancing and the way everything turned out,” Yelverton said.
It didn’t take long for the show to start moving as the dance number “Thoroughly Modern Millie,” featured most of the cast in the 1920s’ flapper style.
“The Speed Test,” featured Berthiaume and a host of secretaries dancing and typing while sitting in portable desks that rolled around the stage.
Carter Poust had a chance to deliver an emotional number on “What Do I Need With Love.” Berthiaume was just as heartfelt near the end of the first act, singing “Jimmy.”
Things picked up in the second act, when Berthiaume and the office women romped their way through, “Forget About the Boy.” Then, Berthiaume and Poust teamed up for a tender “I Turned the Corner,” while singing and dancing on a window ledge.
Filkins brought one of the comic highlights of the night during a drunken scene with Berthiaume and Poust. Filkins and Spieth had some fun singing opera love songs to each other but she eventually jilted him for Ching Ho, played by Frank Olive. “The toughest part of this role was learning Chinese,” he said.
Berthiaume gave her most memorable performance of the night, singing “Gimme Gimme,” with passion and power.
In the end, the little girl finds happiness and self-determination in the Big City.
“I loved being a part of this show,” Berthiaume said. “This cast was so special and so talented. I’m proud to work with them.”
“This is a woman’s play,” added Mollie McCarthy. “We need more women’s plays in The Villages.”
One more woman also had a cameo role in the production.
If you go to see it, keep your eyes open for Carole Greenfield, who makes a brief but spectacular appearance.
A portion of the proceeds of “Thoroughly Modern Millie” will benefit The SOZO KIDS of the Ocala National Forest.