Review: PIAF, Watermill Theatre
Photo credit: Alex Brenner
Edith Piaf’s beautiful singing voice made her a global star in the 1940’s, and was affectionately known in her native France as ‘The Little Sparrow’. But her personal life remains a mystery in places, at times a scandal and in the end, a tragedy. Pam Gems’ musical play about Piaf’s life and work premiered in 1978, and has played on Broadway, in Australia and Japan to name but a few. The current production at The Watermill is directed by Kimberley Sykes, and stars Audrey Brisson as Édith Piaf.
Brisson is truly exceptional in the title role, taking the audience with her on Piaf’s journey from a young French woman who enjoys the company of men and a stiff drink, to the physically and emotionally battered 47-year old dying a premature death from the excesses of addiction. A native French speaker herself, Brisson brings a sincerity to the role which makes for a raw and affecting performance, and her remarkable vocal talent makes each song a short work of art in itself.
Brisson is joined on stage by nine actor-musicians, all playing a multitude of instruments, and artfully delivering each of Piaf’s musical numbers. The ensemble cast are slick, talented and clearly a firmly bonded team, which makes them a joy to watch as they all embody multiple characters with an enviable effortlessness. Signe Larsson as Marlene Dietrich and Piaf’s assistant Madeleine executes her roles flawlessly, and in scenes when Larsson and Brisson share the stage, the energy and chemistry are compelling.
The set, designed by James Perkins and Victoria Smart from Good Teeth, is unremarkable but provides a suitable backdrop for the many locations alluded to as the story unfolds. Perkins and Smart are also responsible for the costume design, which perfectly encapsulates the period, the characters and the mood of the piece. Items like a chaise lounge, chairs, tables and a piano are brought in and out of the playing space as needed, leaving the small stage free for the large cast and many instruments, and these changes are swiftly executed with no impact on the pace of the performance.
While the production is unarguably excellent, the subject matter is a little lost in translation in places. For non-French speakers, much of the power and meaning of Piaf’s songs is lost and while the authenticity of the language is valuable to the integrity of the piece, it does come at a cost. A few numbers are performed in English, notably ‘Hymne à l'amour’ (Hymn to Love), which closes the first act. Brisson delivers the song with such passion and heartbreak that it is impossible not to be moved.
Piaf is a beautiful piece of biographical storytelling, with as many peaks and pitfalls as its complex subject.
**** Four stars
Reviewed by: Sarah Brown
Piaf plays at The Watermill in Newbury until 17 May, with further info here.