photo by Chris Bennion Mame (Dee Hoty, wearing Luly Yang’s $30,000 “Passage to Shanghai” gown) and Patrick (Matt Owen) perform “It’s Today” in the 5th Avenue Theatre’s production of “Mame,” playing Feb. 9 through March 2.

In a play directed by David Armstrong and based on Jerome Lawrence and Robert E. Lee's timeless comedy, Auntie Mame, the title character comes to Seattle in all her glitz and glamour, taking the 5th Avenue Theatre by storm. Complete with a live orchestra, toe tapping choreography and charming characters, "Mame" is a delight from beginning to end.

The experience of Mame at the 5th Avenue Theatre in downtown Seattle starts with walking in the front door. The Chinese-inspired design of the theater gives you the feeling you've entered some exotic Asian palace, with its red, saffron and orange coloring, intricate woodwork and its high-domed ceiling--an amazing work of art in itself.

With the first strains of the orchestra, however, the atmosphere changes, and at the rise of the curtain the audience is swept away to 1920s New York, where newly orphaned, sheltered, 12-year-old Patrick Dennis (Nick Robinson) wanders the lonely streets with his hilariously fretful caretaker Agnes Gooch (played brilliantly by Kat Ramsburg) to find his only living relative, Auntie Mame (Dee Hoty).

Enter the eccentric, glitzy, epitome of glamour: the wild and wonderful Mame herself.

The set explodes into song and dance as the city lights and skyscrapers become the towering French windows of Mame's Manhattan abode. A lofty, grand staircase slides on stage, and a high-class, booming 20s flapper party forms, or in the words of Mame, a little gathering of "all my dearest friends--even the ones I haven't met yet."

Mame, who, with her stylish furs, elegant cigarette rollers and quick wit, wakes up at the "crack of noon," is ready to travel the world at the drop of a hat and sticks firmly to her belief that "life is a banquet."

As different as young Patrick and his aunt may be, the duo strike up a beautiful relationship and Patrick is brought up to know the true meaning of "open a new window, open a new door" and "live!"

Patrick's character grows up over the course of the play, and Nick Robertson exits after an exceptional performance, giving way to Matt Owen, who carries on the role of adult Patrick while meeting the high standard set by Robertson.

Special mention must be made of Robertson, however, who definitely holds his own and shines in what is otherwise an all-adult cast.

Carol Swarbrick is also outstanding in her role as the droll Vera Charles, a socialite-cum-actress who is rarely sober and rarely quiet, but always a joy. Hoty and Swarbrick play off of each other in a way that is wonderful to watch and their true (if somewhat competitive) friendship offers the basis for many a laugh.

The play works as a good musical in every way. There is a glorious mix of slow ballads and upbeat tunes, dancing that spans tango, tap, swing and folk and a first-rate orchestra to back up the whole caper.

Conductor and musical director David Holcenberg does a fantastic job backing up the songs in the show (including show-stoppers such as "My Best Girl" and "We Need a Little Christmas") and the acting, adding music to scenes to maximize tension, re-enforce action, create a mood and convey the feelings of characters that words can't quite do justice.

Dannul Dailey, the choreographer, went to town on the musical numbers and the variety of styles incorporated as well as the number of people involved in the dances is incredible to watch.

The plot itself is good, but at two and a half hours is somewhat drawn out. Some may argue that it peters out slightly in the second half, after a spectacularly glittery first half. However, the more subdued and less sparkly second half gives the play a degree of maturity, taking it a step away from being a vaudeville production and allowing the audience to look at Mame in a more serious light. She still never loses her enamoring appeal, though, which allows viewers to take on her message of "seizing the day" as one of substance and not simply of comic appeal.

A show that took more than a hundred people to bring together, making use of a phenomenal set and over 275 costumes designed by Luly Yang, the show is exceptional in every way. As well known as it is, because of the sheer size of the production it is rarely performed, and even then, rarely performed on this kind of scale.

Though a little on the pricy side, it is fully worth it and an opportunity that won't come again soon.

"Mame" runs through March 2, 2008. All performances are at the 5th Avenue Theatre, 1308 Fifth Ave. Tickets range from $20-$77. Group tickets are available at discount prices and discount tickets for patrons under 25 are available on certain show dates. For ticket sales and discount details, call 206-625-1900 or visit http://5thavenue.org.tickets for show times and more information.