Madame Piaf

‘Madame Piaf’ is a brand new musical biography with a fresh, positive slant written by English born Stephen Quinn. Stephen, now in his mid 50s, was educated at the Salesian College founded by Catholic missionaries; it is in the shadows of Wandsworth Prison and the Battersea Power Station. Alfred Hitchcock was also a pupil at the College – for one week. Quinn has written in many genres, ranging from pantomimes to adaptations of classics.

This stirring biography of France’s ‘little sparrow’, Édith Piaf, is being presented by some of Perth’s best vocal and musical talents. It can be seen at the cosy 45-seater, ‘Guild Studio’ found in the Equity Guild of WA building, 123 Claisebrook Road, near the Perth Oval and Claisebrook station.

There are only 9 shows; these magnificent, evening performances are at 7.30 pm on Monday the 5^th until Thursday the 8^th and then the following week, Tuesday 13^th to Thursday the 15^th. There is one matinee, Saturday 17^th at 3.00 pm.

       It is January 1960, three years before Édith’s death. She is leaving the stage after singing ‘La Vie en rose’, the song that has made her famous since 1952. By now, 44 year-old Édith (Rhoda Lopez) has siroccos of the liver, she is arthritic and her 142 cms frame is bent, but it hasn’t stopped her from getting married to her young singing pupil, Theo (David Charles Bowyer). Édith may be frail but her obstinacy and wicked humour have not declined.

       Theo’s sister, Christie (Emma Shaw) arrives at Madame’s home and mentions to Édith that she too is keen to become a famous chanteuse. After a quick audition, the couple start to talk and Édith begins to relate her life story. Born Édith Gassion in 1915, was brought up in a brothel, had dozens of lovers and only being married for the first time at the age of 37.

      When Édith’s accordionist, Bonel, died his wife Danielle (Zalia Joi) continued as a companion and carer to Piaf.

Co-produced and directed by Stephen Lee who is taking a break from Shakespeare to give Perth something new and exciting. For years Stephen felt that the film did a disservice to Piaf, and that her talents were skimmed over. A major international star, her memory has been allowed to slip. Lee’s research has been one of total dedication, he has had the songs translated and the words projected as sur-titles, The words are intermingled with fascinating photos of the ‘little sparrow’, her lovers and friends (operated by stage manager Craig Williams).

Production manager, Shirley van Sanden keeps the audience warm by offering homemade soup and French bon-bons.

Equity Award winner, Rhoda Lopez, was given the impossible task of creating the international legend Édith Piaf. Impersonating a well-known person is the nightmare of most actors, when the part also calls for a foreign accent and quality singing, most actors would run. Rhoda being one of Perth’s most loved and respected actresses, fearlessly accepted the challenge of portraying France’s national diva, a tiny woman with a colossal voice.

Long, pencil thin eyebrows, a close fitting wig, crucifix and of course the famous satin black dress – Rhoda came alive as Piaf. Her body became the damaged frame of this self-destructive singer. Even the most ardent Piaf fans and connoisseurs of French music will be stunned by the resemblance of Perth’s starlet to the musical celebrity.

The musicians, who were tucked at the side of the audience, included Beth Sheldon on upright bass, Jeffrey Harold on acoustic guitar, with the musical director, Nikki Dagostino, on keyboard and accordion. All being highly talented musicians they captured the French atmosphere and story mood perfectly. The musicians are partners in Rhoda’s street performing group the ‘Sirens’.

Then there was the challenge of singing twelve songs in that coarse French accent, with the guttural rolling ‘r’s. Having spent a year as an exchange student in the French-speaking region of Belgium ensured an amazing authenticity. Such was Piaf’s popularity that her songs were translated into 28 languages. With the selection ranging from ‘Milord’ to ‘Les trois cloches’ (later known as ‘Little Jimmy Brown’) her success was guaranteed.

Ending her performance with ‘Non, je ne regrette rien’ (18 million views on YouTube), a song that Piaf picked up by luck only three years before her death, ensured that there wasn’t a dry eye in the house.

When the whole house gives a standing ovation and then queues outside the theatre to give an extra cheer, what can I say other than I hope this breathtaking show makes it through to a major theatre? Truly amazing.