GLORIOUS!

Theatre Royal Windsor

★★★

“a very watchable, and funny, portrait of a very eccentric woman”

The American socialite, Florence Foster Jenkins, who was widely mocked for her poor singing ability once famously remarked that “people may say I can’t sing… but no one can ever say I didn’t sing”. It throws into question just how aware she was of her considerable vocally deficiencies. Was she in on the joke, or did she honestly believe that she had talent? To some extent, Peter Quilter’s stage comedy “Glorious!” addresses the dilemma. It treats its subject very much as a joke – especially in the first act – but also gives us a glimpse of the complex personal history behind an eccentric who is merely trying to live her dream. The latter may come a little too late, and the former overdramatised and outstretched. The jokes – at Jenkins’ expense – are relentless and repetitive, and consequently our belief in the extent of her self-delusion is undermined.

It is 1944 and Florence Foster Jenkins (Wendi Peters) is recruiting a new accompanist, having dismissed her original one after catching him giving her audience a ‘knowing smile’ during a performance. In walks Cosmé McMoon (Matthew James Morrison) who rather swiftly discovers what he is letting himself in for, but takes the job anyway. A lifelong alliance ensues which is eventually portrayed by the pair as a touching tribute to the human spirit. Morrison is a striking presence and a talented pianist who finds the perfect balance between humouring Jenkins and showing unwavering support and loyalty. We get that McMoon is not just in it for the money, of which Jenkins has plenty, inherited from her father. Also inherited was her fierce determination – a direct and perverse reaction to her father’s dismissal of her ambitions by refusing to fund her musical education. The loss of her sister at the tender age of eight also had profound effects on shaping her personality. These facts are glossed over somewhat, as is her first marriage and her subsequent relationship with the actor St. Clair Bayfield.

But, to be fair, that is not the ambition of the play. Quilter is unashamedly playing for laughs. And Peters and Morrison certainly deliver. Peters channels Hyacinth Bucket from ‘Keeping up Appearances’, with a faultless American accent – and more faultless is her ability to sing extremely badly. One needs to be a virtuosic vocalist to be able to get it so wrong so convincingly. It is a bold performance, complete with outrageous costumes courtesy of Ingrid Hu. Morrison has more to play with and stands out as the sympathetic piano-player, breaking out of character to address the audience directly, at times, with some much-needed exposition.

To complement what is inherently a two hander are Sioned Jones as friend and side-kick Dorothy, and Caroline Gruber’s Italian maid, Maria. “I’m sure she’s Italian just to annoy me” quips Jenkins with shades of ‘Fawlty Towers’ creeping into the script. Gruber also doubles as the uptight Mrs Verrinder Gedge who storms the stage during one of Jenkins’ recitals to deliver the truth – in true ‘Emperor’s New Clothes’ fashion. But the show ultimately belongs to Peters and Morrison, and we certainly feel the bond between the two. Director Kirk Jameson seems to take a while to find the true heart of the piece. Act One is very much a one-trick wonder that relies on slapstick rather than character; and we only really start warming to the couple in the second half. The gentler moments are quite touching, especially when Peters demonstrates moments of self-doubt that her peers rarely – if ever – saw. The comedy also works better the more subtly it is delivered. McMoon’s closet homosexuality is nearly blown by Jenkins during some cleverly constructed and unpredictable dialogue.

We do take particular pleasure from hearing Mozart’s ‘The Magic Flute’, for example, or Bizet’s ‘Carmen’ being well and truly murdered. Even if it does wear a bit thin. We are rewarded with a quite stunning finale that gives us a delicious taste of Wendi Peters’ true talents. What we hear in our head or in our heart is not always what is heard by those that surround us. Jenkins died shortly after her ill-fated public performance at Carnegie Hall. We may never really know how aware she was of others’ perception. “Glorious!” doesn’t attempt to shed more light on the quandary, but it is a very watchable, and funny, portrait of a very eccentric woman. Thankfully it hits many more right notes than its subject.

GLORIOUS!

Theatre Royal Windsor then UK Tour continues

Reviewed on 17th March 2026

by Jonathan Evans

Photography by Chris Davis

GLORIOUS!

★★★

“Shakespeare in the Squares have created a very fine storytelling of Macbeth”

Shakespeare in the Squares, well-known for its summer seasons of outdoor theatre, presents its first indoor Winter season performing at a selection of London churches. Director Sioned Jones writes in her programme note that churches bear similarities to castles in their stone walls and echoes. Certainly, that combined with the high ceiling of the Actors’ Church provides a difficult ringing acoustic, more curse than atmosphere, for this team of actors to deal with. Otherwise, the brightness and warmth of this church are a far cry from a dark and dank Scottish castle.

This is a pared-back Macbeth, performed by just five actors in a whistle-stop ninety minutes. The production has been designed to tour and it looks like it. All the action takes place in a straight line centre stage in front of a props table. There’s only a little movement bar entries and exits and no use at all of any of the church nooks or wider spaces. Costumes are simple, with small additions or extractions as actors change characters, some in kilts and all with added tartan flourishes (Jida Akil designer).

The three witches in this production have become fortune tellers and their prophesies are read in the cards and from tea leaves. The actors don headscarves and there’s a nice moment when Molloy Walker begins her next scene in the Macbeth household still wearing her scarf, hastily hiding it away. We see that the secret of the witches is more mundane than ethereal. The other two actors ham these scenes up perhaps more than strictly necessary and both Sam D’Leon and Mohab Kaddah seem happier in their comic roles than when in the royal house as Duncan and Malcolm. D’Leon excels as first murderer, relishing the bloodthirstiness, but his MacDuff lacks the necessary nuances. There simply isn’t the time for them to be found. Molly Walker shines in all her supporting roles. Her Porter scene is excellent, making much of the knock knock joke routine with a touch of audience participation, and her diverse servants show character and depth despite their brevity.

Central to everything is, of course, Macbeth (Gavin Molloy) who is “likeable, relatable and funny as possible” according to the Director. It’s a long journey though from dependable war hero to murderous despot and Molloy’s performance is rather single faceted, his centre stage declamations unchanging despite Macbeth’s mind beginning to unravel. Each scene ends with his stamping exit down the central aisle following his closing rhyming couplet.

This production emphasises the fact that Macbeth is pushed into action by his ambitious wife and their touching early scenes together show them as a devoted couple. Cathy Walker is a dependable Lady Macbeth whose role has suffered less than the others in the adaptation. Her approach to Banquo, however, sees this important character more played as Wee Jimmie Krankie.

The play begins and ends with a jaunty song, entertainingly performed with clever lyrics containing some of Shakespeare’s lines. Other incidental music is limited but is performed to great effect in the final battle scene (Annemarie Lewis Thomas, composer and musical director). Commendable too is the film-like split screen direction of this scene and some fine fleet footwork shown by D’Leon and Molloy.

Shakespeare in the Squares have created a very fine storytelling of Macbeth, the adaptation keeps the tale moving and the skills of the multirole playing actors provide aural variation. The brevity of the adaptation, however, and its speedy delivery means subtleties are lost along with any hope of character development. The static nature of the direction means the performance is somewhat disappointing visually as is the directorial decision not to exploit the unique building into which the production has been brought.

Tag Archives: Sioned Jones

GLORIOUS!

★★★

UK Tour

GLORIOUS!

Theatre Royal Windsor

★★★

“a very watchable, and funny, portrait of a very eccentric woman”

GLORIOUS!