★★★★

“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.

BARNUM at the Watermill Theatre

★★★★

“it’s the songs and the thrill of the circus big top that makes this production sing”

Cy Coleman’s Barnum is a big, big-top musical in the small Watermill Theatre proving that size doesn’t matter, as this is a big bold production. The skillset of the company of 18 actor-musician / circus performers is outstanding and between them must have played over 100 different musical instruments.

The tale of P.T. Barnum the nineteenth-century impresario who sells the American dream with his “humbug” to become the greatest showman – and like many after him, takes his sucker-deluding talents into politics.

Jonathan O’Boyle’s production is brilliantly conceived, even with Mark Bramble’s weak book as it flashes through Barnum’s colourful life – it’s the songs and the thrill of the circus big top that makes this production sing.

As the audience walk into the auditorium from the garden, where due to the inclement weather there had been a very brief pre-show; on stage we find just three acrobats warming up on their trapeze hoops. From the get-go the audience see beautiful shapes, spins and strength (circus director Amy Panter). With just the three performers the stage looked full and yet the next minute there were eighteen and it looked wonderful.

The pace of the choreography by Oti Mabuse is breath-taking, and the four key acrobatic dancers Emily Odunsi, André Rodrigues, Dan Holland and Kiera Brunton (who is a pocket rocket of talent) handle the space and the tightly performed routines with pure joy.

Matt Rawle in the titular role does everything right but it is hard to see any of the “attractions” that should make Barnum mesmeric. But the iconic scene when Barnum literally walks a tightrope towards his lover, he does with aplomb. This is a love triangle in soft-focus. Charity Barnum (Monique Young) invests more heart towards her errant husband, than might be written and sings with true love. Whilst Barnum’s lover, the opera star Jenny Lind he named the Swedish nightingale (Penny Ashmore), is sung beautifully in full soprano. The character has the best exit in the show as she is lifted and slowly spun on high – wearing a wonderful red creation with a very long train. Do watch out for Ashmore in the finale, as by then she is dancing on pointe, singing and playing the Irish harp!

In this production it is the amazing musical arrangements (Orchestrator and Musical Supervisor George Dyer) that win the day. The company literally manage to sing as they dance as they play the piccolo and in a breath swop to a double bass or run to play one of the two honkytonk pianos. Act Two starts with Tom Sowinski on solo sousaphone as the number ‘Come Follow the Band’ grows into a rousing song with full company marching choreographed moves whilst playing a plethora of brass and percussion instruments. Followed fast on its heels with the song ‘Black and White’ as colour literally bursts back onto the stage, as Barnum brings colour back into his life. Josh Barnett is the onstage musical director doing a fantastic job whilst juggling many musical instruments and several key roles in the show.

The costumes are perfect throughout and the theatre’s small proscenium stage is turned into a believable red, white and blue circus big top, all designed by Lee Newby. With colourful lighting design by Jai Morjaria, bringing it all to life.

A fun night out and certainly another hit for the Watermill Theatre who clearly know how to put on a big show.

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

BARNUM at the Watermill Theatre

★★★★

“it’s the songs and the thrill of the circus big top that makes this production sing”

BARNUM at the Watermill Theatre

Reviewed on 9th July 2024

by Debbie Rich

Photography by Pamela Raith

More shows we’ve reviewed at this venue:

BARNUM

BARNUM