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Queen of the Mist

Queen of the Mist

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Charing Cross Theatre

Queen of the Mist

Queen of the Mist

Charing Cross Theatre

Reviewed – 19th August 2019

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“a musical with a profound heart, and more than a touch of a morality tale”

 

Queen of the Mist is an ironic meditation on a whole range of recognisable American characters, including unscrupulous managers, small minded small town citizens, a radical Temperance campaigner β€” and even the assassin of an American president. In Michael John LaChiusa’s musical, they all get caught up in the story of one highly unusual sixty-three year old woman striving for immortality β€” and enough money to live out the end of her days. For protagonist Anna Edson Taylor, the problem is how to achieve this when life has you so beaten, the only route left to you is to go over the Niagara Falls in a barrel.

Based on a true story, we first meet Anna drifting from small upstate New York towns to small midwestern cities. All she meets is a hard nosed scepticism and a grasping at dollars β€” a wasteland for a woman who proclaims throughout Queen of the Mist that β€œThere is a Greatness in Me.” Her longing for significance is dismissed by those who see Anna’s quest for consequence as that of an unscrupulous huckster and β€œQueen of fools.” There is more than a little truth to this, but in the words and music of LaChiusa, Anna’s search transcends the hardscrabble existence of a self proclaimed β€œquintessential hero”. We see instead, an intelligent woman who takes on the forces of nature β€œwith science”, and wins. With such a barnstorming ending to the first half as Anna goes over the Niagara Falls, where can Queen of the Mist possibly go in the second?

Anna’s story falters in the second half, and this is hardly surprising. Anna’s life falters as well. As the first person to survive a trip over the Falls, we see her life turn into a series of lecture tours that all fail because of Anna’s inability to describe β€œwhat it was like”. There is conscious irony at work here, in giving Anna the posthumous fame she so desperately sought in life. Michael John LaChuisa once again creates a challenging work laden with memorable music and big ideas.

This revival of Queen of the Mist at the Charing Cross Theatre is noteworthy in several respects. With the audience seated both in front and behind the stage, set designer Tara Usher has produced a flexible space that teases with several delightful surprises as Anna’s story proceeds, amply supported by lighting designer Beth Gupwell. But it is director Dom O’Hanlon who deserves special mention for making the most of this challenging space. It is rare that one sees such confident, ingenious work. His direction highlights the talents of the cast, particularly Trudi Camilleri, playing Anna, and Will Arundell, who plays Anna’s first manager, Frank Russell. The musical direction of Connor Fogel is also confident, and with his band, supports the singing talents of all the cast to good effect.

Queen of the Mist is not a light hearted musical, but it is a musical with a profound heart, and more than a touch of a morality tale. For how different, really, is our contemporary world, with its own parade of hucksters and money grabbers? Anna Taylor Edson’s story is a perfect example of restless people in search of distinction, deserved or not. But Queen of the Mist is ultimately a musical about hope and resurrection, and inspirational in its own unique way.

 

Reviewed by Dominica Plummer

Photography by Stephen Russell

 


Queen of theΒ Mist

Charing Cross Theatre until 5th October

 

Previously reviewed at this venue:
Harold and Maude | β˜…β˜…β˜…β˜… | February 2018
It Happened in Key West | β˜…β˜… | July 2018
Mythic | β˜…β˜…β˜…β˜… | October 2018
Violet | β˜…β˜… | January 2019
Amour | β˜…β˜…β˜…β˜… | May 2019

 

Click here to see our most recent reviews

 

Queen of the Mist
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Jack Studio Theatre

Queen of the Mist

Queen of the Mist

Jack Studio Theatre

Reviewed – 11th April 2019

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“its rushed retelling of Taylor’s ambitious stunt does not make the splash that it perhaps intends”

 

On 24th October 1901, Annie Edson Taylor, a 63-year-old woman from Auburn, New York, became the first person to go over Niagara Falls in a barrel and survive. Down on her luck, Edson had hoped that achieving such a feat would make her rich and famous, but soon discovers the fickle nature of showbusiness.

Dominic O’Hanlon’s adaption of Michael John LaChiusa’s musical Queen of the Mist follows Taylor’s (Trudi Camilleri) incredible story from rags to riches to, well, rags as she employs the smooth-talking drunkard Frank Russell (Will Arundell) to be her manager and shuns the concerns of her conservative sister Jane (Emily Juler). The cast is completed by four supporting actors who do well to play several different roles from shopkeepers to presidential assassin Leon Czolgosz.

Camilleri does well to lead the show and spends little time offstage. The boisterous and selfish character of Taylor makes her hard to sympathise with, but Camilleri is successful in getting the audience on her side in more tender moments. The chemistry between her and Arundell is also apparent, and their last scene together is incredibly touching.

The cast make excellent use of the small stage, effortlessly transitioning between scenes set at the Falls to those in domestic spaces. The use of chairs, boxes and raised platforms (Tara Usher) effectively transforms the stage, and a brief bout of shadow puppetry in the first half is an amusing way of adding variety to the musical’s visuals. The small band of keys, strings, bass and woodwind instruments led by musical director Jordan Li-Smith sit prominently on tiered platforms to the right of the actors, but they do not detract from the action. Coloured lighting is used well to reflect and communicate the mood on stage and is impressively well-timed with the music.

The musical accompaniment deserves special commendation and is particularly atmospheric when Taylor plunges over the Falls. The music is strong in less dramatic moments too, with light flute and heavy brass cleverly accompanying different people as they walk and talk on stage.

The entire cast has strong vocals and Camilleri impressively navigates several successive solos. The strongest songs are The Fall (Act Two finale) and There Is Greatness In Me, the latter of which is threaded throughout the show which makes for nice continuity. Many of the songs are however lacklustre and the desire to cram in as many as possible often prevents both plot and character development.

The plot at times seems rushed and key relationships like that between Taylor and Russell are not given proper attention and make it unclear to the audience what to expect from their next interaction. The first half has a wonderfully dramatic climax but speeding through Taylor’s story to make this the case means that the second half unfortunately lacks much plot at all.

Queen of the Mist shines an important spotlight on a forgotten tale of greatness, but its rushed retelling of Taylor’s ambitious stunt does not make the splash that it perhaps intends.

 

Reviewed by Flora Doble

Photography by Stephen James Russell

 

Jack Studio Theatre

Queen of the Mist

Jack Studio Theatre until 27th April

 

Last ten shows reviewed at this venue:
Dracula | β˜…β˜…β˜…Β½ | October 2018
Radiant Vermin | β˜…β˜…β˜…β˜… | November 2018
Sweet Like Chocolate Boy | β˜…β˜…β˜…β˜…β˜… | November 2018
Cinderella | β˜…β˜…β˜… | December 2018
Gentleman Jack | β˜…β˜…β˜…β˜… | January 2019
Taro | β˜…β˜…β˜…Β½ | January 2019
As A Man Grows Younger | β˜…β˜…β˜… | February 2019
Footfalls And Play | β˜…β˜…β˜…β˜…β˜… | February 2019
King Lear | β˜…β˜…β˜… | March 2019
The Silence Of Snow | β˜…β˜…β˜… | March 2019

 

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