Zelda: A Musical Based On The Life Of 1920's American Icon, Zela Fitzgerald (to give the show it's complete title) is a Musical written by Les Reed and Roger Cook (words and music), and Kit Hesketh Harvey (book). The show is also known as "Beautiful And Damned" but which title came first or which is the current one, I am uncertain.
In this YouTube recording of the show performed live at London's Lyric Theatre, the production has been directed and choreographed by Craig Revel Horwood.
The show is a biographical account of Zelda Sayre, the youngest daughter of a wealthy judge from Alabama who falls in love with and marries F. Scott Fitzgerald - generally regarded as one of America's greatest novelists - and their brief time together. The story shows how even as a young girl, Zelda was a renegade and rebellious, unable to follow strict societal rules, and had a huge passion for self-expression through the Arts. Against her father's better decision, she marries Fitzgerald and they go to live in the New York of the Roaring Twenties... scandal, drugs and illegal booze (Prohibition) are just a part of their lives there. The story then moves to them travelling to France and starting anew in Cap D'Antibes, before moving once again to Paris as their relationship becomes more and more fraught.
As a piece of historical documentary, this musical works well, and I learned much watching it that I had not previously known. That is assuming the storyline to be accurate of course. The story charts Zelda's descent into madness, from frustration, jealousy, and lack of freedom. She has several breakdowns and is for the latter part of her life, in a psychiatric institution. In 2020 none of this shocks, but if we look at all of this with contemporary eyes, then it would have made headlines and been very shocking indeed back then.
The biggest 'issue' I have with this musical is that it seems to tick every box for what a musical should be, and yet still comes out lacking. Frank Wildhorn had the same problem when he too tackled the same subject matter with his musical, 'Waiting For The Moon'. Perhaps the life of the wife of F Scott Fitzgerald just doesn't translate into box office success in the form of a Musical. Here the first act was a kind of mix between 'Mame' and 'Thoroughly Modern Millie', whilst the more serious and darker second act had similarities with the recent Royal Ballet's 'Anastasia'.
The set, and indeed the costumes, were good, but perhaps not optimal. Designed by Christopher Woods, he was able to capture the feel, languor, and more traditional nature of America's south, as well as the jazzy, upbeat quasi-sleaze of jazz-era New York. Capturing the colours and essence of the South Of France, and the risquee gaiete of Paris was less successful.
Horwood did a very good job with the material he had to work with, bringing out solid and rounded characters through some lovely dramatic situations, as well as providing us with nicely thought-out period-styled choreography. Helen Anker (Zelda) and Michael Praed (F. Scott) worked very well together and had a nice onstage chemistry. However I feel that this curio of a show, will understandably, eventually be consigned to the reject pile.
Reviewer - Matthew Dougall
on - 19/9/20
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