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

Piaf

Tumble Tuck

King’s Head Theatre

Reviewed – 25th April 2018

★★★★

“the physical use of space helped the pace of the script match the range of emotions spilling across the stage”

Tonight’s ‘Tumble Tuck’ is the opening show in the ‘Who Runs The World?’ season at the King’s Head Theatre, showcasing female playwrights from now until May 12th, and what a brilliant way to start!

I am a singularly uncompetitive person. The more pressure applied, the less interest I have in the outcome. This has never endeared me to team sports, I prefer to walk for miles and enjoy the view, or swim alone for lengths, clearing my mind, meditating, and making my body stronger. So arriving in a minimalist studio to the sounds of a lapping pool with dappled blue lights made me feel very at home.

Daisy, played by playwright Sarah Milton, also likes to swim, but she is on the verge of medal. She understands she needs to work hard, she knows what is required of her, she’s OK with the idea of winning because it is an uncomplicated concept. It isn’t quite so simple for her to reconcile ‘doing your best’ with ‘being the best’, especially as she’s a little confused and a lot undecided about what ‘success’ may actually be.

There is no set, no cast beyond Daisy and very few props. The audience is on three sides of the stage where the storytelling unfolds through the blunt, funny, and honest recollection of memories, and re-enacted conversations that are both hilarious yet simultaneously heartbreaking. This strong, brave performance carefully reveals the events of Daisy’s life and slowly weaves them together.

As Daisy becomes more aware of the world around her, she wonders more about success. In sport and in life. Past experiences and present challenges can be elusive things to conquer, and perhaps not always as important as participation, or happiness.

In a very personal and bare space the lighting (Rory Beaton) and sound (Harry Blake) help to set an atmosphere that prevented Daisy’s narrative from ever seeming stark, and the physical use of space helped the pace of the script match the range of emotions spilling across the stage.

I found writer/performer, Sarah Milton both confident and engaging as a young woman trying to make sense of relationships and responsibilities. She captured the audience from the very beginning and ended with a standing ovation.

Touching on childhood friendships, mother-daughter relationships, first love, trust and rivalry, this show will resonate with anyone who remembers how confusing and complicated growing up can be.

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

Tumble Tuck

King’s Head Theatre

Reviewed – 25th April 2018

★★★★

“the physical use of space helped the pace of the script match the range of emotions spilling across the stage”

Tonight’s ‘Tumble Tuck’ is the opening show in the ‘Who Runs The World?’ season at the King’s Head Theatre, showcasing female playwrights from now until May 12th, and what a brilliant way to start!

As Daisy becomes more aware of the world around her, she wonders more about success. In sport and in life. Past experiences and present challenges can be elusive things to conquer, and perhaps not always as important as participation, or happiness.

In a very personal and bare space the lighting (Rory Beaton) and sound (Harry Blake) help to set an atmosphere that prevented Daisy’s narrative from ever seeming stark, and the physical use of space helped the pace of the script match the range of emotions spilling across the stage.

I found writer/performer, Sarah Milton both confident and engaging as a young woman trying to make sense of relationships and responsibilities. She captured the audience from the very beginning and ended with a standing ovation.

Touching on childhood friendships, mother-daughter relationships, first love, trust and rivalry, this show will resonate with anyone who remembers how confusing and complicated growing up can be.

Reviewed by Joanna Hinson

Photography by Scott Rylander

Tumble Tuck

King’s Head Theatre until 12th May

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Written by Sarah Milton

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