Tag Archives: Union Theatre

THE ESSENCE OF AUDREY

★★★★

Union Theatre

THE ESSENCE OF AUDREY at the Union Theatre

★★★★

“Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice”

Truman Capote said that ‘Breakfast at Tiffany’s’ was the “most miscast film I have ever seen” when he felt he was double crossed by Paramount when they cast Audrey Hepburn rather than Marilyn Monroe in the role of Holly Golightly. Despite it being a defining moment in Hepburn’s career, many critics sided with Capote, deciding that she embodied the ’essence of Audrey’ rather than that of Golightly. A simplistic slur perhaps. For what was that essence? Hepburn was a complicated soul; her acting career just one layer of a personality that many have tried to peel back to find the heart. When the image is strong, the essence is often out of sight.

Helen Anker, in her one woman show – “The Essence of Audrey” – goes some way towards finding the heart. She introduces us to Hepburn at the stage in her life when her humanitarian work is taking precedence over everything else. We are probably somewhere in the late seventies or early eighties. Her formidable acting career is largely behind her, and she is hosting a private auction of her film memorabilia at her Swiss home, to which we – the audience – are invited. The guest of honour cannot attend, however, so while a replacement is found, Audrey is left alone to while away the time, and entertain us with anecdotes and memories.

A lace covering is draped over the piano in the corner, while an acoustic guitar sits centre stage. Old packing cases are piled up, teasing us with the promise of reminiscences to be revealed. And, of course, a mannequin wearing ‘that’ dress. Hepburn herself is dressed casually. Sensibly and comfortable, yet Anker instantly evokes the discomfort that lies beneath. Nervous and humble, she captures the self-deprecation of a movie star who once confessed that “by all laws of logic, should never have made it”.

“There are many wonderful flavours, but not quite that secret ingredient we were expecting.”

There is a touch of genuine nervousness in Anker’s performance, as though the task has been thrust upon her a little too soon. But it is soon swept aside as she warms to the themes and wins us over with her charm and charisma. Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice. Ninety minutes is a long time to maintain her idiosyncratic accent, but Anker is spot on with the blend of refined elegance that sounds British with a continental edge; mixed with a touch of transatlantic exoticism.

It is Anker’s performance that carries the show. She struggles occasionally under the weight of the material, which is unquestionably fact-heavy and a little light on imagination and poetic licence. Often resembling a compendium, it never strays too far from common knowledge, with the bulk of the show focusing on the movies and marriages. There are glimpses of the darker side; the aristocratic yet troubled childhood, her contribution to the Dutch resistance during WWII; her father’s estrangement and imprisonment as an enemy of the state, the loss of the family fortune. But too soon we are led back to the familiar. It must be said, however, that Anker dresses the open secrets alluringly – befitting of the enigma that is Audrey.

Most people, when they picture Audrey Hepburn, call to mind the black, sleeveless sheath dress, large tortoiseshell sunglasses, and the Tiffany necklace of strands of pearls. It is, of course, one of the most potent fashion moments in movie history. But Hepburn would have been the first to debunk the myth, and Anker reinforces it by delving behind her mesmeric eyes. She shows us the modesty, the fact that Hepburn spent most of her life doing things she wasn’t prepared for, then tried like mad just to cope.

There is a lot crammed into the show, and we are given many gentle reminders of the reluctant icon. There are many wonderful flavours, but not quite that secret ingredient we were expecting. The “Essence of Audrey” might still elude us, but the spirit is very much alive in Helen Anker’s sympathetic performance.

 


THE ESSENCE OF AUDREY at the Union Theatre

Reviewed on 4th February 2024

by Jonathan Evans

Photography by Mark Macdonald

 

 

 

Previously reviewed at this venue:

GHOST ON A WIRE | ★★★ | September 2022

THE ESSENCE OF AUDREY

THE ESSENCE OF AUDREY

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Ghosts on a Wire

Ghosts on a Wire

★★★

Union Theatre

GHOSTS ON A WIRE at the Union Theatre

★★★

 

Ghosts on a Wire

“This new work is brimming with ideas and interesting historical characters”

 

This new play by Linda Wilkinson is performed in the pertinent space a stone’s throw away from the historical area whence the story comes. The building of an electricity power station on the south bank of the Thames in the 1880s was to transform the lives of Londoners: on the north bank they received light and power; on the south bank their homes were demolished, and the area was filled with heat, smoke, noise and foul air.

An ensemble of six, directed by PK Taylor, tell the story. Everyone takes on double roles and are generally proficient despite some overly side-on positioning. Coming to terms too with a rather wordy text, the actors will need a few more performances to achieve a better fluency. A sparsely set stage and a bare back wall provides sufficient ambience. With mostly subdued lighting throughout, the use of foot lights and stage up-lighting proves especially effective and atmospheric.

Three cigar-smoking, ale-quaffing gentlemen represent the developers revelling in the knowledge that the redevelopment of Southwark is a money-making evil. In the south bank pub, The Watermans Arms we meet William and Sarah Shelfer (Ali Kemp). They are delighted that their pub is to be the only remaining hostelry after the demolition of the area, a delight that turns into horror once they discover that the noise of the power station makes living and working impossible. Andrew Fettes excels in his two contrasting roles: as both Lyon Playfair MP with his top hat and Etonian articulation, and pub landlord Shelfer with his flat cap and estuary vowels.

Playfair, representing the London Electric Company hopes to bring Octavia Hill (Gerri Farrell), known campaigner for fair living conditions, to be part of the redevelopment plan. We hear some laborious backstory from Hill, rather ponderously delivered. Introducing lesbian overtones, she tells her companion Harriot (Deborah Klayman) of the double male betrayal by her father and by artist John Ruskin which all seems to carry little significance.

Before all of this, however, we see an opening scene from a previous generation and a metaphysical discussion between author Mary Shelley (Klayman), poet William Blake (Timothy Harker) and scientist Benjamin Franklin (Tom Neill). The three historical figures are the ghosts in the title, first overlooking the action, reflecting upon what they see, and then connecting directly with the future. There is a rather over-played séance scene – Mrs Cook (Farrell) gurning and shrieking – and philosophical debate between Blake and Hill.

The projection (Chris Lince) on the back wall is the star of the show. A central Faraday cage throws out electrical sparks, an indicator of the arrival of the ghosts. Scenes through a window, wall lights, maps of the area, and images of the working power station add to the success of the story telling, culminating in a magnificent St Paul’s Cathedral.

A six-part close harmony song that breaks the fourth wall, masquerading as a pub singalong, seems incongruous with all that has gone before.

This new work is brimming with ideas and interesting historical characters but lacks overall coherence. Perhaps there is room for more than one play here. Beyond Octavia Hill wanting a new electric cooker, and some observations that the lights on the north bank of the Thames look pretty, there is little suggestion that the move towards electricity is a positive one. But this is a Southwark story, and the bias is forgivable.

 

 

 

Reviewed on 26th September 2022

by Phillip Money

Photography by Martin Butterworth

 

 

 

 

Recently reviewed by Phillip:

 

The Wellspring | ★★★ | Royal & Derngate | March 2022
The Woods | ★★★ | Southwark Playhouse | March 2022
I Know I Know I Know | ★★★★ | Southwark Playhouse | April 2022
The Homecoming | ★★★★★ | Cambridge Arts Theatre | April 2022
The Paradis Files | ★★★★ | Queen Elizabeth Hall | April 2022
A Midsummer Night’s Dream | ★★★ | The Maltings Theatre | May 2022
Space Station Earth | ★★ | Royal Albert Hall | May 2022
Starcrossed | ★★★★ | Wilton’s Music Hall | June 2022
Much Ado About Nothing | ★★★ | Jack Studio Theatre | August 2022
Playtime | ★★★★ | Royal & Derngate | September 2022

 

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