Tag Archives: Marc Serratosa

PIAF

★★★★

Watermill Theatre

PIAF

Watermill Theatre

★★★★

“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.



PIAF

Watermill Theatre

Reviewed on 9th April 2025

by Sarah Milton

Photography by Alex Brenner

 

 


 

 

Previously reviewed at this venue:

THE KING’S SPEECH | ★★★★ | September 2024
BARNUM | ★★★★ | July 2024
MUCH ADO ABOUT NOTHING | ★★★★ | April 2024
THE LORD OF THE RINGS | ★★★★★ | August 2023
MANSFIELD PARK | ★★★★ | June 2023
RAPUNZEL | ★★★★ | November 2022
WHISTLE DOWN THE WIND | ★★★★ | July 2022
SPIKE | ★★★★ | January 2022
BRIEF ENCOUNTER | ★★★ | October 2021

Piaf

Piaf

Piaf

BARISTA THE MUSICAL

★★★

Capitol Theatre

BARISTA THE MUSICAL at the Capitol Theatre

★★★

“a valiant new work with potential and moments of real pleasure”

Barista The Musical is a new, original production that deserves recognition simply for not being based on an existing format or film franchise. In a time when much of musical theatre leans on familiar franchises, this fresh work is a bold effort. While it doesn’t always hit the mark, there’s enough here to applaud.

The show opens with a dramatic gut-punch as Isabella (Sara Bartos) leaves Colombia to study in London, seen off by her protective brother, Luis (Daniel Lobo). It’s 2006, and though Luis insists this is for her own good, an undercurrent of danger lingers. A flashback to 20 years earlier reveals their father (Marc Serratosa) being murdered by his business partner, Matias (Jay Faisca), followed by an implied rape of their mother, Maria (Charlotte Shalkey). This emotionally charged opening is unexpected, given the lighter tone suggested by the show’s marketing.

Scene 3 introduces us to Scott’s Café, an independent London coffee shop around which the plot revolves. In the effective montage number Want a Coffee, we witness the passing of time from 2006 to 2009. Through brief snapshots, we observe a pregnant woman who progresses to having more children, a man who starts with two dogs and ends with one, and other locals whose lives subtly evolve. It’s a clever, engaging sequence that showcases the versatile six-person ensemble and gives us a sense of the broader community.

However, the lead characters lack the same connection. Andy (George Crawford), the café owner, is in a romantic relationship with Isabella, who works at the café while studying at university, but there’s little chemistry between them. It’s hard to understand what Isabella, the central focus, sees in him, and their relationship feels underdeveloped, weakening the story’s emotional core.

Musically, the show has poignant moments. Andy’s solo Proud of Me reflects on his childhood and his grandfather, from whom he inherited the café, while Isabella’s Stronger, the Act 1 finale, delivers a powerful moment of resolve. Sara Bartos carries the emotional heft of the show and is an engaging stage presence, particularly in the Spanish-language song La Única Manera, where her emotions are deeply felt despite the language barrier. George Crawford brings charm to his role, though his character feels less fleshed out.

On the lighter side, the comedic numbers shine. No Chance, where bankers reject Andy’s loan request, is a satirical highlight that sets the stage for a shady business deal threatening both his relationship with Isabella and his café. Another standout is Smoothie Man, performed by Sue (a comedic force and guardian-angel-like figure played to perfection by Colleen Daley), who brings the house down with witty double entendres like “squeeze me, zest me, juice me,” while being lifted, spun, and twirled by a trio of men in gold lamé. Sue’s banter, complete with her obsession with Zumba and references to Liam Neeson’s “particular set of skills,” firmly roots us in 2009.

The choreography, by Strictly Come Dancing’s Pasha Kovalev, shines particularly in the comedic numbers and later in the second half when the action returns to Colombia. The Latin American rhythms and a sultry tango sequence add vibrant energy, contrasting with the earlier scenes in London.

There’s a lot percolating in Barista The Musical—perhaps too much. With book, music, and lyrics by Nigel and Anna Newman, several plot threads are introduced but left unresolved. Still, director Sarah Redmond keeps things engaging, with the action moving briskly enough to hold attention even when clarity falters.

In the end, Barista The Musical is a valiant new work with potential and moments of real pleasure. It’s not a perfect cuppa, but in a theatre landscape dominated by adaptations, it makes for an engaging night out.

 


BARISTA THE MUSICAL at the Capitol Theatre

Reviewed on 13th September 2024

by Ellen Cheshire

Photography by Josh@JustSocials

 

 

 

 

 

 

 

Top shows this month:

GUYS & DOLLS | ★★★★★ | BRIDGE THEATRE | September 2024
THE PLAY THAT GOES WRONG | ★★★★★ | DUCHESS THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024

BARISTA THE MUSICAL

BARISTA THE MUSICAL

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