By David Gordon

When “The Drowsy Chaperone” opened on Broadway in the spring of 2006, this was the advertising campaign: “Please ignore the title. The show is a lot better than it sounds.” And yes, the show was indeed better than the title made it out to be.

Opening the same year as the super-smash-hit “Jersey Boys,” “The Drowsy Chaperone” was the proverbial “little show that could.” Stuck in the mammoth Marquis Theatre, “Drowsy,” a show written by a few no-name writers from Canada, managed not only to make its money back in less than seven months, but went on to win five Tony Awards.

“The Drowsy Chaperone” tells the story of Man in Chair (now played by Bob Saget), an agoraphobic musical theater addict, who, one day, decides to play the record of his favorite 1920s musical for the assembled audience. As “The Drowsy Chaperone” comes to life in his drab apartment, we are invited to the wedding of Janet van de Graaf (Mara Davi), a world-renowned showgirl who’s giving up the stage life to marry the handsome Robert Martin (Troy Britton Johnson). Also in the mix are her drunken Chaperone (Tony Award winner Beth Leavel), a Latin lover set on ruining everything (Tony nominee Danny Burstein), and a wide variety of other colorful characters.

“Drowsy” is an hour and 40 minutes of pure joy. The original cast, including the show’s librettist and original inspiration Bob Martin and Broadway favorite Sutton Foster, was the closest to theatrical perfection one had ever seen. Replacing Martin as the Man in Chair is another Bob, B-list TV legend Bob Saget.

Saget, best known for his raunchy style of comedy and, on the opposite end of the spectrum, his wholesome character Danny Tanner on the eternally popular “Full House,” makes a most impressive Broadway debut. He captures Man in Chair’s pathetic qualities through his typically dry sense of humor, while also displaying an undercurrent of desperation and personal sadness stemming from the fact that he’s probably gay. (While they don’t use the “G”-word, there is enough innuendo to make it more than obvious). He nails every joke and has an incredible amount of stage presence.

Mara Davi, who replaced Foster, is a Broadway novice last seen in a bit-part in the revival of “A Chorus Line.” As Janet, she sings beautifully and dances effortlessly, though she does not give off the warmth needed to endear herself to the audience.

In the titular role that won her a Tony, Beth Leavel is every bit as funny as she was when the show first opened. Her chemistry with Danny Burstein as Aldolpho, the over-the-top, faux-Latin lover, is incredible. Their respective solos stun the audience just as much now as they did when it first opened.

David Gallo’s set, a drab apartment that transforms into a Broadway stage, is exquisitely detailed, just like Gregg Barnes’ period-perfect costumes. It’s no wonder why they both were awarded for their work. Ken Billington and Brian Monahan’s lighting is the typical lighting seen in Broadway musicals, and it works wonderfully.

The Tony Award-winning book and score by Bob Martin and Don McKellan, and Lisa Lambert and Greg Morrison, respectively, are a riot and perfect examples of cheesy 1920s pastiche. Combine that with Casey Nicholaw’s tireless direction and choreography and the audience will never stop smiling.

All the Man in Chair wants to do is “chase the blues away.” With Saget at the helm and this joyful production behind him, “The Drowsy Chaperone” is the perfect cure for those impending winter doldrums.

Since its opening a year ago, “The Drowsy Chaperone” has become a hit Broadway show and acquired five Tony awards. And now the outstanding musical, currently playing at the Marquis Theatre, has Bob Saget as its male lead. (drowsychaperone.com)