I have seen this play many times over the years [the last time being a Polish production in the city of Radom!], and am very fond of the French chanson, of which Edith Piaf was one of the greatest exponents, and was looking forward to this evening's performance muchly.
Pam Gems's biography is a sincere and tragic piece with heart; very much like the protagonist herself. Other productions of this - including an outstanding one at Oldham's Coliseum in the late 1980s - have been much more upbeat and optimistic in their approach to the text and overall feel of the play. In this production, directed by Charlie Tomlinson, it was kept very dark and serious, with few lighter moments, especially in the second act. This had the effect of making the play perhaps more worthy than it really is; it's a celebration of a life, not a Shakespearean tragedy. Also I am struggling to remember, but feel sure that all other productions of the play that I have seen have had the songs sung in French rather than in their English translations, as they were this evening. I might be wrong on this, so don't quote me! However, maybe there is justification and common sense in this decision. First of all, if they were to be sung in French, we would automatically require the actress to sound like Piaf, and have the same accent and intonation, which, for various reasons might prove a large obstacle for the society; and also, using the intimate setting of the theatre's Lauriston Studio, we are able to hear the words and emote clearer and easier when we understand everything that is being sung. [albeit that the English words are not a direct translation of the French... but the lyrics were always apt and ameliorated the narrative each time]. The other problem with directing the piece in such a manner though was the lack of pace. The whole play had a very pedestrian feel to it and never truly got itself out of first gear all evening. That was a pity, because there was much to enjoy and some talented actors giving their all, but for me it seemed as if someone had turned a switch to have the production performed at a slightly slower speed. [a form of technology thankfully not yet invented...!]
Gems portrays Piaf as a backstreet guttersnipe, foul-mouthed, rude, arrogant, egocentric, and insecure. Perhaps it isn't too far from the truth; however, the question is why anyone would ever want to help her, care for her or even love her... and so many did. The trick then, is to get the balance right, and to show the audience that she also had some very good and humane qualities too, such as fairness, cameraderie, generosity, a love of life, and a huge capacity to love. She was also capable of compete selflessness, especially with those she truly loved. Despite my concerns that the production was in general too 'heavy' or 'worthy', director Tomlinson found this balance with ease, and Edith Piaf, performed by a perhaps-too-young Emily Leeland, was a truly rounded character. Leeland was diminutive, and had dark hair and petite features and so all of this helped enormously in our believing she was Piaf; and her aging and deterioration throughout the second act was superbly measured and very realistic. Where the suspension of the disbelief faltered was that she simply looked liked like a teenager throughout the whole of the first act, only aging for the second. It was, nevertheless, a cleverly measured and intellectual performance which worked extremely well for her. Obviously she didn't sound like Piaf vocally, but that didn't matter.
Supporting Leeland were several talented actors / actresses playing the roles of the people who touched her life in meaningful ways; such as her most faithful of friends Toine (Olivia Riley), whom she had known from her days as a prostitute on the streets; Riley and Leeland working well together. Steven Finney's sardonic and homosexual Leplee was quite sinister, contrasting well with the later lovers / husbands in her life. It did become a little obfuscated at times when one actor played two or sometimes three different roles within the play; you needed your wits about you to understand who they were at times. Liam Dodd and Charlie Gallagher brought energy and light to the play, whilst Sam Evans as Charles Aznavour, and Tom Broughton as Yves Montand, delighted with renditions of non-Piaf songs; and Volare in Italian was a highlight! Scarlet Newton simmered as Marlene Dietrich.
Overall the play was handled with skill and sensitivity, with some moments of genuine pathos and heartbreak, by a cast of 12 committed and honest performers. Live music was performed on stage by Pete Grimshaw.
Reviewer - Matthew Dougall
on - 17/3/22
on - 17/3/22
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