Review: A MIRRORED MONET THE MUSICAL, Charing Cross Theatre
Photo credit: Pamela Raith
To Charing Cross Theatre, Besties, for another new musical at this enterprising venue. It may be a rather basic auditorium but the programming is always varied and sometimes uncovers hidden gems. Sadly, this was not the case with A Mirrored Monet The Musical, just opening at the venue after its run at the Edinburgh Fringe. Incidentally, when did it become the thing to add “The Musical” to so many titles? It makes sense if there is also a spoken word version but that is not the case here.
The piece is greatly enhanced by Matt Powell’s video designs but the double revolve adds little to the basic setting. Set designer Libby Todd is responsible for the attractive costumes too, although these painters do seem very well dressed when working in the studio. The excellent though unseen eight-piece band under MD Michael Webborn gives full credit to the score, which is pleasant if derivative at times, and most of the numbers sound very similar to each other.
Composer Carmel Owen is also responsible for book and lyrics. It’s a big ask to find someone who can create all three aspects of a musical, which is why so many of the great shows have been by partnerships or even trios of writers. In this case, the book has no clear narrative arc, despite the framing device of the older Monet, remembering his youth as he paints the water lilies at Argentuil.
Much of the dialogue does not convince and there are stylistic hurdles. French characters speaking in English still call Paris Paree and yet London is not given its French name. Characters will add cherie to the end of a line, presumably to remind us they are French. A London tram is spoken of by the American term streetcar. Far too much of the dialogue makes repeated use of the names of the characters (in addition to Monet, Manet and Renoir appear and Matisse is mentioned), presumably to remind us who they are, sometimes ponderously: “Remember that your papa is the artist Claude Monet.” The script tends to tell us what happened rather than show us. Lest we forget the time period, one of the characters helpfully says “We’re at the court of Napoleon III.”
The lyrics are sometimes serviceable but at other times less so. At time, the songs tend to interrupt the action rather than advance it. Lines like “all the fog, and they call us frogs” or “I need time, I need water with lime” do not sit easily on the ear.
A strong cast make the most of any opportunities they are given, with gruff Jeff Shankley transformed from his Starlight Express days and giving a good account of the older Monet. Dean John-Wilson is impressive too as Young Monet. There are only two female roles, but Natalie Day makes much of Blanche, daughter of Monet, while Brooke Bazarian as Camille is an affecting central character and in many ways this is her story as much as that of Monet.
A Mirrored Monet The Musical, directed by Christian Durham, is an ambitious attempt to put the life of a painter on stage, but this is a field dominated by Sunday in the Park with George, where music and painting style combine and comment on each other. In this case we have nothing as complex, but it always good to see confident musical performers on stage and to hear live music well played.
*** Three stars
Reviewed by Chris Abbott