Florence Foster Jenkins was a wealthy woman in early 20th Century America who decided she wanted to sing, so she started performing recitals of classical music. And she didn't let the fact that she couldn't sing stop her! She became a bit of a phenomenon, in a
The Producers "so bad it's good" kind of way. But the play
Souvenir, which premiered off and then on Broadway about 20 years ago, doesn't treat her as the butt of the joke. It's actually kind of inspiring and heart-warming as it tells the story of someone who performed for the love of it, and didn't care what anyone thought. Music isn't about perfection, theater isn't about perfection, art isn't about perfection. And it isn't reserved for the select few; we're all artists, even if it's just for ourselves. Florence sums it up in this quote: "People may say I can't sing, but no one can ever say I didn't sing." She did the thing. Gremlin Theatre's production of
Souvenir is excellently done; the cast and creative team stay true to Florence's spirit of love for the art, although they are objectively more talented (
continuing through November 30).
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| Jake Endres as Cosme (photo by Alyssa Kristine Photography_ |
The story is told from the perspective of Florence's longtime accompanist Cosme McMoon, wonderfully played by Jake Endres. It's some 20 years after Florence's death in 1944, and Cosme is sitting at the piano and reminiscing about his time with Florence, and unlike the would-be singer, he actually is a talented musician. Jake seamlessly moves between dialogue and songs, sometimes just a snippet, singing and playing the piano. Eventually we meet Florence, and she is something to behold. Embodied by the great Cheryl Willis, who expresses all of Florence's enthusiasm, confidence, and painful singing. I don't think I've ever heard anyone sing so badly so brilliantly. It's actually much harder than it looks to sing just slightly (or more than slightly) off all the time, especially when you can sing (as Cheryl proves she can). This intentionally bad singing is hilarious and makes it clear why Florence was so popular in her day. But this play is not mean-spirited in anyway, Cosme soon becomes very fond of her and feels like it's his job to protect her from what people might say about her, even if he is shocked by her success. The play takes us through her recordings (which she does as a "souvenir" for herself) and Carnegie Hall concert, the height of her career.
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we should all sing with such joy!
(Cheryl Willis as Florence, photo by Alyssa Kristine Photography) |
The simple and elegant set is dominated by a grand piano draped in an elegant scarf, sitting on an area rug, framed in red velvet curtains hung across the back of the stage, with just a couple of set pieces. Florence was known for her elaborate and ever-changing costumes, and this production lives up to that reputation. Particularly impressive is the second act Carnegie Hall concert, in which she has a different costume for every song, often matching the theme. It's a fun fashion show that leans into the eccentricity of the character (set and lighting design by Carl Schoenborn, original costume design by Rawl Blackett for the first incarnation of this production at the Arcadia Repertory Theatre in Maine, where Cheryl is Co-Artistic Director, with additional costumes and props by Sarah Bahr).
This production of Souvenir is full of heart and humor; not surprising since it's directed by #TCTheater vet Angela Timberman, known for both. It's a feel-good show about someone who pursued their passion with joy and abandon, and didn't need to be "good" at it (although maybe she thought she was). Art for art's sake is a beautiful thing.
