Tag Archives: Sam Pay

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

REDLANDS

★★★★

Chichester Festival Theatre

REDLANDS at the Chichester Festival Theatre

★★★★

“Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time”

Redlands, a new play by Charlotte Jones, deliciously delivers an enthralling portrayal of a pivotal moment in cultural history. This fictionalised account of the infamous 1967 trial of Mick Jagger and Keith Richards in the quiet Sussex city of Chichester explores generational conflict and societal change, highlighting the tension between The Establishment and the emerging rock and roll aristocracy.

In the summer of 1967, Keith Richards hosted a party at Redlands, his country house in West Wittering, near Chichester. Their revelry is abruptly interrupted by a police raid, leading to Mick and Keith’s arrest on drug charges. Jones deftly captures the clash between the youthful idealism of figures like Mick and Keith and the entrenched authority represented by Michael Havers, the leading QC defending them. This is no straightforward courtroom drama; it masterfully blends history and fiction, capturing the spirit of an era while examining the generational rifts that define it.

Central to the narrative is 17-year-old Nigel Havers, son of The Rolling Stones’ lawyer and an aspiring actor. Serving as a meta, fourth-wall-breaking narrator, he bridges the old guard and the new generation. Here, Nigel develops a relationship with Marianne Faithfull, whose portrayal in the tabloid press after the raid prompts her to re-evaluate her career and relationships. Their shared background of family and societal expectations, along with noble titles, adds emotional depth, highlighting the personal stakes amidst the public spectacle of the trial.

The show transcends the typical courtroom or coming-of-age drama. It examines the class system of late sixties UK, the reliability of the press and justice system, and the nature of fandom and fame. With ten songs from the Rolling Stones and Marianne Faithfull’s back catalogue performed live by cast members and an on-stage band, the play captures the exuberance of the era. Jasper Talbot (Mick Jagger) and Brenock O’Connor (Keith Richards) excel in their roles, skilfully channelling the unique moves and charisma of their real-life counterparts, particularly in musical numbers featuring classics like “Ruby Tuesday,” “Jumpin’ Jack Flash,” and “I Can’t Get No Satisfaction.” Emer McDaid conveys the complex emotions of Marianne Faithfull, transitioning from the wild atmosphere of the party to moments of vulnerability in her relationship with Nigel.

In addition to father and son Michael Havers QC (Anthony Calf) and Nigel (Louis Landau), we also meet Michael’s father, Cecil “Bongo” Havers (Clive Francis). Despite being a prestigious lawyer and judge, Cecil is depicted as having more in common with his grandson than with his stuffy son. This trio adds both emotional depth and humour to the narrative as they navigate the weight of generational expectations.

Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time. The vibrant set (Joanna Scotcher) and evocative lighting (Matt Daw) immerse everyone in the chaos and excitement of the era, creating a truly dynamic experience. Chichester’s thrust stage brings the action close to the audience, enhanced by direct interactions between performers and audience. Actors dance in the aisles, and two small platform stages above the exits serve as additional performance spaces during the musical numbers, as well as for commentary by journalists and witness boxes during the trial. The hardworking ensemble cast take on multiple roles, from comedic police officers to legal staff to journalists, bringing their characters to life with charisma and depth. Standouts include Adam Young, who plays both the drug dealer sent to Redlands and the News of the World journalist believed to have sent him there, as well as Havers’ other son, Philip. Akshay Sharan shines as Michael Havers’s legal colleague, who is smitten with Jagger.

Redlands cleverly juxtaposes the liberated spirit of the ’60s with the conservative values of an older generation, creating a dynamic commentary on the cultural upheaval of the time, alongside contemporary themes of youth culture and the struggle against societal norms. This celebration of rock and roll rebellion serves as a timely reminder that the clash of ideals continues to shape our world. The audience in Chichester was more than satisfied, despite the city and its residents being the butt of many jokes.


REDLANDS at the Chichester Festival Theatre

Reviewed on 29th September 2024

by Ellen Cheshire

Photography by Ikin Yum

 

 

 

 

 

 

Previously reviewed by Ellen:

BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

REDLANDS

REDLANDS

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