Modernly Magnificent

It's the toast of Broadway; a "classic" musical that succeeds in today's trendy world of modern rock operas and script-less concept revues.

"Thoroughly Modern Millie," winner of the 2002 Tony Award for Best Musical, brings back a style of storytelling that many thought was long gone. Full of show-stopping dance numbers and dialogue that either sets up the next joke or segues not-so-subtly into the next song, there's a traditional sense about this new musical.

The show's first national tour is currently onstage at Shea's Performing Arts Center through Sunday, and it's not to be missed.

The plot is not altogether unique: a feisty girl from the Midwest leaves behind her hopeless past, moves to New York City, falls in love with a handsome gentleman and learns that love, not money, is what brings happiness in the real world.

Set in the 1920s, the New York City of Millie's day is the same breathtaking, romantic metropolis it is today. Not resting on her Midwestern laurels, Millie's mission in the big city is to bag a rich husband on her own terms, not by succumbing to what tradition or society dictates. Her ideals couldn't be more misguided, yet Millie's charm makes her such an adorable gal from first glance and first note sung.

Opening the show with the glowing "Not For The Life of Me," Darcie Roberts, as Millie, is stunning in vocal and physical form. Her comic timing is acute and on par with a young Mary Tyler Moore, while her slightly gangly demeanor is reminiscent of Carol Burnett.

Moore coincidentally appeared with Julie Andrews ("The Sound of Music") in the original 1967 film version on which the stage musical is based. A few songs from the film are featured on stage, along with some era standards and a slew of new songs by Jeanine Tesori and Dick Scanlan.

Roberts' flawless performance continues with "The Speed Test," an ultra-fast-paced comic duet between Millie and her prospective new boss, Mr. Graydon (Sean Allan Krill). Scheming and screwy, Graydon is not really a jerk, just hapless. Krill's performance is half "Sex and the City's" Mr. Big and half Bozo the Clown.

Scenes in the office feature not only the most impressive dancing, including some inventive tapping, but also colorful water cooler characters. As office manager Miss Flannery, Janelle A. Robinson is cruel and catty, but eventually warms up to Millie during the empowering "Forget About the Boy."

Shiny, steel girders form an abstract bridge - alluded to many times as Millie's way out of the past and into her future - that serves as a conceptual set of doorways, hallways and the city skyline, designed by David Gallo. Martin Pakledinaz's Tony Award-winning costume designs are flashy, but never distracting.

As if the troubles of a new city weren't enough for the strong but na??ve Millie to handle, a B-plotline that involves her hotel boarding woman and an international slavery scheme is eventually hilarious, but quite confusing at first. Hollis Resnik, as the sly Mrs. Meers, contributes many humorous moments, but creates such a far-fetched scenario for Millie's otherwise believable story that his role lowers the show's standard a smidgen.

Performances of "Thoroughly Modern Millie" continue through Sunday at Shea's Performing Arts Center, located at 646 Main St. in downtown's theater district. Student rush tickets are available an hour before curtain time or can be purchased at www.ticketmaster.com.