REVIEW: 'Glorious' - His Majesty's Downstairs, Perth

By Gillian Clarke Even as a great singer, becoming a success is a challenge. Florence Foster Jenkins makes her mark with haphazard tone, pitch and harmony. Her ambition and belief is great, and culminates in a Carnegie Hall performance at the age of 76, one month before her death. Glorious is the work of Peter Quilter about this unlikely and ill-fitting diva, set in the America of the 1940’s when Cole Porter and Caruso are de rigeur, not wailing banshees like Jenkins. The script is subtle and economical, with a slice of American musical history well served. Not much more than the literal story and I for one was interested in the backstory of Jenkins' and her father’s relationship, and the suggestions of closeted homosexuality in art circles. Set in the intimate supper theatre setting, all the elements are there for an enjoyable night at the theatre, and it doesn’t disappoint. Under the direction of Jenny McNae, also taking the lead role, and Alan Becher co-directing, this light musical comedy is delivered with great clarity and surprising earthiness from the three-strong cast McNae, Benji D’Addario, and Monica Main. McNae has a good voice, which becomes apparent in the extent to which she is required to distort it to represent Jenkins, and she is quite charismatic. D’Addario is the crowd-pleaser with his diplomatic quips and commanding delivery. Monica Mann plays a number of characters, with the devoted fan Dorothy showing the warmth and spiritedness that Mann can bring to a role. While the performers deliver the material without sentimentality and a great energy and fervour, the set is slightly under-par in its opulence, albeit economical for its circumstances. The glitterring swallows are cute and are symbolic of a woman entranced by the light fantastic! Set changes are smooth with the piano housing much of the paraphernalia for the show’s business, which could really exemplify the spirit of the singer’s lifestyle. Appropriately and colourfully costumed, the characters are truly alive and happening. Florence Foster Jenkins’ performance ensembles are indicative of her vivacity and sense of camp (which if asked I’m sure she wouldn’t admit to!). The ‘musicality’ is well embedded in the show, being expertly technically delivered by Roly Skender as Sound Designer. In its setting, it is a satisfying night at the theatre with a punchy script and deft performances.