09/07/2021
PIAF - (In Person) - Review By Ben Bradley
Watch our full theatre trip vlog here: https://youtu.be/kf8n_tTSAcQ
Jenna Russell and Sally Ann Triplett lead in this masterful production, both heart-warming and devasting. ****
Not knowing much about the titular Edith Piaf, this production came as a welcome education of her life. Pam Gems script does take some adjusting to. The torrent of adult language and explicit references came as a shock, not to mention the Walford accents! However, in a similar vein to Les Misérables, this provided plenty of comedy contrasted with subtle social commentary. The simplistic vignettes which told our story, were initially confusing however due to their sudden jumps in time and location. However, come Act 2, the pieces fell together and a masterful production came to light. Gems’s writing coupled with Adam Penford’s direction enabled the incredible company to fully embrace and embody these characters too.
Jenna Russell as Edith Piaf was outstanding. She gave the single greatest performance of a protagonist, I have ever seen on-stage. Her impressive physicality that deteriorated throughout the production, conveyed Piaf’s lifestyle well, bringing an underlying vulnerability that was devasting to witness. Her singing too, was unbelievable. Its is obvious to see why she won an Olivier award and was nominated for a Tony. Her performance tonight was unchallenged. Each note, clear and distinct. Providing, not an impression of Piaf’s voice, but an entire embodiment of this complex person.
Sally Ann Triplett was astounding as Toine. The pair’s chemistry was unmatched, coupled with a sprinkling of Triplett’s stunning vocals. Their friendship evident both on and offstage. Knowing their close friendship before seeing this production only enhanced my viewing. Every look, glance and subtlety steeped in emotion, as you saw two friends giving the performances of a lifetime. At times, everything else melted away, to give a very pure representation of a very real friendship.
It was amazing to see the three female leads foregrounded heavily in this production. Not to mention the incredible female led encore, that rounded off the production. Laura Pitt-Pulford stole the show. Starting as a male character ‘Eddie’, violent and dangerous, before heading into the incredible Marlene. Her performance tonight was brilliant, she led at times with an air of maturity playing two characters that gave advice and appeared to care for Piaf. When she first appeared as Marlene, it took me a few minutes to realise that was Pitt-Pulford. Her dramatically contrasting roles indicated the powerhouse of a performer Laura is.
The male cast too, were brilliant. A special mention to Joseph Prowen for dramatically aging his character of Louis Barrier so brilliantly, for a minute, it felt like a totally different person. It was great to see the inclusive and diverse casting in this production, a brilliant step in the right direction for theatre. The rest of the cast led the vocals brilliantly, doubling as musicians too. When all sang together, it felt as though the cast were double the sound, despite the few technical mishaps, here and there.
Piaf comes together masterfully, with the most stunning Playhouse set I have ever seen. Frankie Bradshaw’s design was amazing. The various levels and structures providing the perfect backdrop for Penford’s direction. Every time I looked in detail at the set, I noticed something new. It was so full of depth and life, a masterclass in design. A nod too, to wigs supervisor Betty Marini, whose amazing wigs, particularly for Piaf, subtly transformed her characters age and provided a glimpse into the different stages of her life.
So much more can be said about this amazing production. I highly recommend you check this out for yourself, either here in Nottingham until July 17th, or at the Leeds Playhouse, between 23rd July and 7th August. Tickets are still available.
Full disclosure: Nottingham Playhouse did provide us with press seats to view their production of Piaf.
Review for Encore Offstage, by Ben Bradley.
