Writer: Peter Quilter
Director: Kirk Jameson
Comic genius Eric Morecambe famously played the right musical notes but not necessarily in the right order. Peter Quilter’s Glorious! concerns a real-life character ,Florence Foster Jenkins , a wannabe soprano who simply sings the wrong notes.
In 1940’s America Cosmé McMoon (Charlie Hiscock, in his stage debut, previous work having been on-screen) is offered a lucrative opportunity to provide piano accompaniment for wealthy socialite and amateur soprano Florence Foster Jenkins (Wendi Peters). However, he is stunned to discover Florence is blissfully unaware she has considerable vocal limitations and tends to perform wearing flamboyant costumes that are not appropriate for the songs. Florence does, however, have a large number of admirers who overlook or respect her eccentricities (or enjoy mocking her performance) which is sufficient to prompt the prestigious Carnegie Hall to invite her to sing. Florence not only accepts the invitation she offers to underwrite the costs of the concert, knowing she will be ruined financially if the show does not sell out.
Unusually for Hope Mill each scene is separated by the closure of a theatre curtain. The gradual unveiling allows the audience to appreciate fully the sophistication of Ingrid Hu’s stage set. Moving from a discreet sitting room and recording studio to a very impressive silk-screened recital area.
Written in 2005 some aspects of Peter Quilter’s script – nudge-nudge hints about Cole Porter’s sexuality- have not aged well. The script is appreciative rather than analytical; possible medical reasons for Florence’s ineptitude (the syphilis she contracted from her husband may have impaired her hearing) are not explored. Frustratingly, Florence is an enigma, a music lover who only ever records one take of a song reasoning if she does not get it right first time she is unlikely to succeed the second. Nowadays audiences might be inclined to categorise Florence as a narcissist and lose sympathy as the antics of Boris Johnson/ Liz Truss/Donald Trump demonstrate self-obsessive behaviour is destructive as much as amusing.
Director Kirk Jameson takes the surprising approach of judging Florence’s vocals subjectively rather than objectively. Reasoning that, if Florence enjoys herself singing and brings pleasure to listeners, her performance should not be criticised even if the audience is laughing at rather than with the singer and the technical standard is below conventional norms. Jameson stages the show, therefore, as a celebration – a gleeful triumph over the odds.
A trio of excellent performances smooth any rough edges in the script. Anita Booth is the most valuable player stylishly covering a surly maid, a devoted friend and an outraged music lover.
Charlie Hiscock is the audience’s representative in the play. His response, moving from shock to gentle bemusement, upon first hearing Florence’s vocals mirrors the reaction of the audience. There is a tentative approach as Cosmé hesitantly adjusts his professional standards to accord with Florence’s perception of her abilities, all the while maintaining a deadpan face. Hiscock charmingly moves Cosmé from a cynic calculating the financial benefits of being involved with Florence to someone whose admiration of her courage is initially grudging then sincere.
Wendi Peters avoids any easy laughs. Rather than just screech out the songs she meticulously rips them apart with a full range of notes that are too high, too flat, or not sustained or held too long. Peters pushes Florence’s enthusiasm and self-belief towards self-delusion. Her costumes and gestures are gauche to the point of vulgarity. Yet Peters retains dignity, portraying Florence as someone who is fulfilled and satisfied having found her vocation.
The celebratory tone of the production limits the extent to which the character of Florence Foster Jenkins is explored in depth. It remains, however, a tribute to someone who refuses to accept limitations so even if the play is not ‘glorious’ it comes very close.
Runs until Sunday 30 March 2025
