Glorious! – Darlington Hippodrome

Writer: Peter Quliter 

Director: Kirk Jameson 

New York socialite Florence Foster Jenkins holds a strangely unique place in the history of early twentieth century music. Reportedly admired by luminaries such as Cole Porter and Sir Thomas Beecham, Jenkins was an amateur opera singer who self-financed lavish recitals for her friends and acquaintances, eventually appearing on the stage at Carnegie Hall in a concert that saw record-breaking box-office. Nothing so far seems particularly unique, that is until you consider that Florence Foster Jenkins was a terrible singer – often dubbed the worst in the world. This, along with her over-the-top costumes and flamboyant performing style, made her a favourite among the New York elite – an early example of pop culture camp – even if Jenkins herself was not apparently in on the joke. 

This bizarre footnote in The Great American Songbook forms the foundation for Glorious!, which in turn was adapted into the 2016 Meryl Streep starring film Florence Foster Jenkins. Originally a 2005 West End hit starring Maureen Lipman, this 20th anniversary production allows “Lady Florence” to once again take to the stage and entertain audiences with her dubious talents. 

Taking the leading role (and hilariously wringing it for every drop of comedy available) is Wendi Peters, a dynamo of energy and charming enthusiasm who allows one to easily relate to people’s affection for her eccentric character. From the moment she sweeps onto the stage Peters holds the attention and provides a brilliantly quirky performance that is more than a little reminiscent of Patricia Routledge’s Hyacinth Bucket from Keeping Up Appearances. Peters’ wild physicality is exhausting just to watch, and her gurning facial expressions suggest that she is having as much fun as the audience. And then she starts to sing, and this wonderful comic creation is complete as she butchers several operatic standards in a way that makes Les Dawson’s piano playing sound like Elton John’s.  

Jenkins does not quite hold the entire spotlight in Glorious! though, with her newly employed pianist Cosme providing the role of narrator as well as audience surrogate as the madness of Florence’s world is thrust upon him. As Cosme, Matthew James Morrison is an extremely affable and charming presence. Giving the character enough uptight shock at the events as they unfold, Morrison then expertly visibly softens as he becomes enchanted with his new employer. His occasional addresses to the audience are all beautifully delivered and his overall demeanour perfectly balances the wildness of Peters’ characterisation.  

Peter Quilter’s script condenses a lot of the real-life eccentricities of Jenkins into a short timeframe and uses this strange story to very funny and often witty ends. There are lots of genuine laugh-out-loud moments although Quilter seems to be a little too keen to go for the easy laughs at times, including a few scenes where the rapid set up and delivery of one-liners becomes tiresome. There is a real tragedy at the heart of this story and whether Jenkins was as deluded as she seems or not, it sometimes feels as though Glorious! is having us laugh at her, not with her, which itself goes against the show’s apparent morals. Consequently, the later scenes that attempt pathos and drama fail to deliver much in the way of emotional connection. 

That all said, Glorious! still delivers a rollickingly entertaining, laugh-filled night and deserves to be seen to be believed.  

Runs until 16th May 2026