Tag Archives: Helen Anker

THE ESSENCE OF AUDREY

★★★★

Union Theatre

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THE ESSENCE OF AUDREY at the Union Theatre

★★★★

“Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice”

Truman Capote said that ‘Breakfast at Tiffany’s’ was the “most miscast film I have ever seen” when he felt he was double crossed by Paramount when they cast Audrey Hepburn rather than Marilyn Monroe in the role of Holly Golightly. Despite it being a defining moment in Hepburn’s career, many critics sided with Capote, deciding that she embodied the ’essence of Audrey’ rather than that of Golightly. A simplistic slur perhaps. For what was that essence? Hepburn was a complicated soul; her acting career just one layer of a personality that many have tried to peel back to find the heart. When the image is strong, the essence is often out of sight.

Helen Anker, in her one woman show – “The Essence of Audrey” – goes some way towards finding the heart. She introduces us to Hepburn at the stage in her life when her humanitarian work is taking precedence over everything else. We are probably somewhere in the late seventies or early eighties. Her formidable acting career is largely behind her, and she is hosting a private auction of her film memorabilia at her Swiss home, to which we – the audience – are invited. The guest of honour cannot attend, however, so while a replacement is found, Audrey is left alone to while away the time, and entertain us with anecdotes and memories.

A lace covering is draped over the piano in the corner, while an acoustic guitar sits centre stage. Old packing cases are piled up, teasing us with the promise of reminiscences to be revealed. And, of course, a mannequin wearing ‘that’ dress. Hepburn herself is dressed casually. Sensibly and comfortable, yet Anker instantly evokes the discomfort that lies beneath. Nervous and humble, she captures the self-deprecation of a movie star who once confessed that “by all laws of logic, should never have made it”.

“There are many wonderful flavours, but not quite that secret ingredient we were expecting.”

There is a touch of genuine nervousness in Anker’s performance, as though the task has been thrust upon her a little too soon. But it is soon swept aside as she warms to the themes and wins us over with her charm and charisma. Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice. Ninety minutes is a long time to maintain her idiosyncratic accent, but Anker is spot on with the blend of refined elegance that sounds British with a continental edge; mixed with a touch of transatlantic exoticism.

It is Anker’s performance that carries the show. She struggles occasionally under the weight of the material, which is unquestionably fact-heavy and a little light on imagination and poetic licence. Often resembling a compendium, it never strays too far from common knowledge, with the bulk of the show focusing on the movies and marriages. There are glimpses of the darker side; the aristocratic yet troubled childhood, her contribution to the Dutch resistance during WWII; her father’s estrangement and imprisonment as an enemy of the state, the loss of the family fortune. But too soon we are led back to the familiar. It must be said, however, that Anker dresses the open secrets alluringly – befitting of the enigma that is Audrey.

Most people, when they picture Audrey Hepburn, call to mind the black, sleeveless sheath dress, large tortoiseshell sunglasses, and the Tiffany necklace of strands of pearls. It is, of course, one of the most potent fashion moments in movie history. But Hepburn would have been the first to debunk the myth, and Anker reinforces it by delving behind her mesmeric eyes. She shows us the modesty, the fact that Hepburn spent most of her life doing things she wasn’t prepared for, then tried like mad just to cope.

There is a lot crammed into the show, and we are given many gentle reminders of the reluctant icon. There are many wonderful flavours, but not quite that secret ingredient we were expecting. The “Essence of Audrey” might still elude us, but the spirit is very much alive in Helen Anker’s sympathetic performance.

 


THE ESSENCE OF AUDREY at the Union Theatre

Reviewed on 4th February 2024

by Jonathan Evans

Photography by Mark Macdonald

 

 

 

Previously reviewed at this venue:

GHOST ON A WIRE | ★★★ | September 2022

THE ESSENCE OF AUDREY

THE ESSENCE OF AUDREY

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Heartbreak House – 4 Stars

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Heartbreak

Heartbreak House

Union Theatre

Reviewed – 9th January 2018

★★★★

“a master class in casting: without exception, each actor has total command over the text”

 

It is hard to believe that ‘Heartbreak House’ was written almost a century ago. First performed in 1920 on the English stage, George Bernard Shaw’s text is permanently relevant, which is what makes it a ‘classic’. It is just as entertaining and pertinent as we approach the ‘twenties’ of the new millennium.

This pitch-black comedy is the first of the Union Theatre’s 2018 Essential Classics series, presented by the Phil Willmott Company, dedicated to topical productions in which issues tackled by great playwrights and composers of the past reflect on today’s world. George Bernard Shaw subtitled his work ‘A Fantasia in the Russian Manner on English Themes’. Ostensibly he is paying homage to Chekhov, though there are more nods towards Wilde or Ibsen here. Yet, in my mind, it surpasses both with its intrinsic sense of danger, intrigue and fascination.

From the outset we realise we are in for something special. Justin Williams’ and Jonny Rust’s set is a masterpiece in its own right. As a result, expectations are indeed raised, though it is safe to say that, under Phil Willmott’s direction, they are well and truly sustained throughout. This is a master class in casting: without exception, each actor has total command over the text. They handle the rhythm of Shaw’s dialogue with the skill of virtuoso musicians.

Hesione Hushabye is gathering the outrageously eccentric family of Captain Shotover together in their country house to save her young protégé, Ellie Dunn, from a marriage of convenience to an ageing industrialist. But the bride to be is not as naïve as she appears. In fact, all the characters are not quite what they seem. A heartbroken adolescent can instantly become a cynic on the prowl, a maternal confidante can also be a seductive hostess and emasculating wife, a philanderer can become a hero. These turns and twists of character are what keep us on our toes. James Horne, as Captain Shotover, gives a star performance, appearing at first to live without rhyme or reason, yet behind his ‘Spike Milligan’ eyes he manages to convince us that he is all too aware of what is going on under his roof. Helen Anker’s Hesione utterly bewitches as the witchy lady of the house, a stark contrast to her estranged sister, Lady Utterwood, a high-society prig played by Francesca Burgoyne who deliciously delivers her put downs with a lacerating wit.

It seems unfair, though space dictates it, to single out individual cast members. The entire troupe deserves a mention. This is that rare piece of theatre where, during the whole two hours, not once does one think that we are watching actors playing their part on a stage. They are the characters. And one really does care for them. Behind the razor sharp wit, the biting aphorisms and the cynicism, it is clear that each character does have a heart. This is testament to the performances, not just to the writing. The audience inhabits their world, albeit a world drifting towards disaster.

Shaw depicts a cultured leisured Europe before the war; the deceptions and meaningless pursuits of England’s ruling class, and the divide between rich and poor. Throw in the talk and fear of pending war – it might have easily been written about today’s world: “Is this England or a mad house?” asks one of the characters. Yes – there is an underlying message, even a warning, that George Bernard Shaw is drumming home. But he was acutely aware of the notion that the best way to get your message across is to entertain.

And, boy, are we entertained.

If this is a taste of what is to come throughout the season at the Union we are in for a treat.

 

Reviewed by Jonathan Evans

Photography by Scott Rylander

 


Heartbreak House

Union Theatre until 3rd February

 

 

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