★★★★

“Audrey Brisson’s portrayal of Piaf is magnificent”

Piaf is a play by Pam Gems that focuses on the life and career of French chanteuse Edith Piaf, revered as much for her exceptional voice as for her extraordinary life. It is a biographical drama with music and has previously portrayed the singer as a self destructive, promiscuous alcoholic. Born Edith Giovanna Gassion in the slums of Paris to an acrobatic street performer father and singer / circus performer mother, Edith was abandoned at birth by her mother and ended up being brought up by prostitutes at her paternal grandmother’s brothel. Later regarded as France’s greatest popular singer and one of the most celebrated performers of the 20th century she was a woman who in turn experienced glory and degradation.

The Watermill has a rich history of experimental actor-musicianship and in this innovative production the director (Kimberley Sykes) and musical supervisor (Sam Kenyon) have imaginatively used the framework of street performers/musicians together with a clever design (Good Teeth) and sympathetic lighting (Prema Mehta) to portray the many people in her life as well as reconnecting with Piaf’s roots. The simple use of a trombone to mimic a war plane, a sawing cello depicting a motor engine, or Piaf’s foot crashing on a piano keyboard, are some of the remarkable musical devices this talented nine strong ensemble use, not only as accompaniment, but for dramatic sound effects throughout.

The copious instruments played by the versatile actors were constantly being switched around and during ‘L’Accordeoniste’ there were three accordions playing, plus an electric keyboard which created a wonderfully authentic Parisian feel to the song. At the introduction of boxer and Piaf’s lover, Marcel (a very talented Djavan Van De Fliert who also plays Yves Montand and one to watch) the use of drums was particularly evocative and during ‘Mon Dieu’ the two double basses were not plucked as in previous numbers, but bowed, enhancing the legato and sensual feel of this number. The use of A Capella voices to accompany Piaf in ‘Jimmy Brown’ was particularly effective as was the musical staging (Michela Meazza) of ‘Bravo pour le clown’. This production is as much about music as it is about Piaf’s life and the musical arrangements elevated it to a whole new level which made it seem more honest and raw somehow.

But Piaf’s life is a biographer’s dream and this play is a star vehicle for the actress playing the role. Audrey Brisson’s portrayal of Piaf is magnificent – a beautiful observation that is refreshingly honest, warm and funny. She completely captures the unique vocal sound of Piaf without ever becoming a caricature and has a remarkable physical resemblance to her at times. My only slight quibble is that she didn’t convince me of her back-street roots, she was not quite edgy enough.

This is a stand out production, with Brisson’s emotive renditions of some of Piaf’s greatest hits reminding us that she left behind an unforgettable legacy… a voice that became the symbol of love and loss and that you have to pay for true happiness with your soul.

TWELFTH NIGHT at Regent’s Park Open Air Theatre

★★★★★

“The emotional stakes reach the treetops in the park. The magic shoots for the stars. It is innovative, funny, cheeky, camp and degenerate.”

I’ve never really been sure where Illyria was geographically, but walking away from Regent’s Park, as the moon rises and the lights twinkle through the greenery, the urge to pinpoint it on the map is great. It seems to be somewhere between Montenegro and Croatia. But what a fabulous holiday destination it would make. Not for the sun and the sea, mind. But the locals. According to Owen Horsley’s louche version of “Twelfth Night”, there’s a little harbour café, named after its eccentric owner, Olivia. Its décor as unprincipled as the people that gather there, full of debauchery, music, liquor and queerness. It is Olivia’s world. Played by the tremendous Anna Francolini, Olivia grandly presents herself, channelling Norma Desmond, veiled in black lace and bluesy piano chords in five-four time. Belting ballads and clutching her brother’s ashes, Francolini sets the tone. Loud in her grief, silent in her longing, and always self-mocking.

You just want to go there and while away the early hours with this motley crew. The bar has seen better days. And so has Sir Toby Belch. Michael Matus, as off-duty and off-his-head drag queen, is a loveably licentious Toby, smeared in campness and lipstick. Matthew Spencer’s Andrew Aguecheek is a foppish travelling salesman type. A sofa-crasher, teetering on the verge of outstaying his welcome. Anita Reynold’s Maria is on hand to out-mischief her mischievous colleagues, while Julie Legrand’s Feste is primed with wistful wisdom, ready to out-sing her hostess. Weaving himself into the throng is Malvolio, a deliciously prim Richard Cant with sinewy self-righteousness, flexing his indignation like a haughty schoolmistress.

The band of musicians add merriment and melancholy in equal measure. Late night jazz adds magic to the twilight while a saxophone cries to the moon. The intended queerness that Horsley is unearthing from Shakespeare’s text is less a celebration than an extra layer. What comes across more is the eccentricity and the camaraderie, the joie-de-vivre and the affectionate rivalry. Shipwrecked, and stumbling into this mayhem, Viola (the brilliantly sassy Evelyn Miller) surprisingly takes it all in her stride. Mind you, she has just run into the dashing Orsino (a thoughtful and commanding Raphael Bushay), so her mind is on other matters. Dressed as a boy – Cesario – she is reluctantly despatched to persuade Olivia of Orsino’s unrequited love. But damn it all – Olivia swoops out of her veil to pop her lusty eyes on the alluring amorousness that Cesario/Viola exudes.

Interestingly, the secondary plotline explores the unrequited love more convincingly. Antonio draws the short straw, always the one left alone at the end of the play. Nicholas Karimi is a potent symbol of loyalty, also subtly conveying the shadowed buds of love for Sebastian. Andro Cowperthwaite (a dead-ringer for Miller’s Viola), while returning the affection has the thankless task of being too easily seduced by Olivia. We never lose sympathy, but the haste with which the happy couples all come together is a flaw which dents our empathy. Similarly, the cruelty towards Malvolio fails to come across sufficiently, and his vow for revenge resembles a telling off in an unruly classroom. What is achieved, however, is a novel and refreshing sense of forgiveness, which steers us towards a finale steeped in affection and fellowship.

The emotional stakes reach the treetops in the park. The magic shoots for the stars. It is innovative, funny, cheeky, camp and degenerate. Again, if only this bar could be found in a holiday brochure. I’d be there like a shot. You just want to spend as much time as possible with these characters. Well – actually – you can do that by going to the Open Air Theatre in Regent’s Park. And I strongly urge you to do so.

PIAF

Watermill Theatre

★★★★

“Audrey Brisson’s portrayal of Piaf is magnificent”

PIAF

Watermill Theatre

Reviewed on 9th April 2025

by Sarah Milton

Photography by Alex Brenner

Previously reviewed at this venue:

Piaf

Piaf

Piaf

TWELFTH NIGHT at Regent’s Park Open Air Theatre

★★★★★

“The emotional stakes reach the treetops in the park. The magic shoots for the stars. It is innovative, funny, cheeky, camp and degenerate.”

TWELFTH NIGHT at Regent’s Park Open Air Theatre

Reviewed on 9th May 2024

by Jonathan Evans

Photography by Richard Lakos

Previously reviewed at this venue:

Twelfth Night

Twelfth Night