Review: GLORIOUS! Shares Florence Foster Jenkins' Lack of Musical Talent with Comedic Flare

In 1940's New York, the performer everyone wanted to see was Florence Foster Jenkins, an American socialite and amateur soprano who was known and mocked for her flamboyant performance costumes and extremely poor singing ability. Known as 'the worst singer in the world,' Jenkins would warble and screech through charity recitals, extravagant balls, bizarre recording sessions, as well as her ultimate triumph performance at Carnegie Hall, all thanks to her personal financial backing. It seemed to not matter that her deplorable lack of pitch and tone left her audiences rolling in the aisles with laughter. Despite it all, among her fans were Cole Porter, Gian Carlo Menotti, Lily Pons, Sir Thomas Beecham, and Enrico Caruso is said to have "regarded her with affection and respect."

Santa Monica's Morgan-Wixson Theatre is sharing the comedy so prevalent in Florence Foster Jenkins performances by presenting "GLORIOUS! the True Story of Florence Foster Jenkins, the Worst Singer in The World" written by Peter Quilter through February 5, 2017. It is a hilarious and heart-warming comedy, somewhat similar to the 2016 film Florence Foster Jenkins starring Meryl Streep. As directed by Anne Gesling, and thanks to the brilliant performance of AnnaLisa Erickson as Florence, we get to know the real woman who truly believes she is the best opera singer in the world - with a remarkable ability to ignore the taunts and laughter from her critics and audiences in the pursuit of her dream. Erickson's ability to overplay Florence's brutally imperfect singing and flamboyant physical style to perfection is captivating.

The play begins with Florence and her British would-be actor and live-in "boyfriend" St. Clair Byfield (Larry Gesling) meeting with Cosme McMoon (a perfectly understated Eric Pierce), a pianist who somehow was unaware of the singer's total lack of musical ability. Pierce perfectly shares his shock at her lack of skill when she hits her first wrong and very loud note, as well as his willingness to accompany her since the price is right. And when he gets to play Carnegie Hall, any musician's dream, he dons white tie and tails and makes the best of it, making sure he can be seen behind the massive floral arrangements sent to Florence by her many "admirers."

Along with Clair, Florence is encouraged to perform by her confidante and best friend Dorothy, portrayed by Joanna Churgin as partly clueless and willing to play her part to the hilt to enjoy the high society events opened up to her due to her friend's connections. She is so clueless, Dorothy attempts many seductions of the poor Cosme, never picking up on his obvious hints that he prefers the company of men. But then Jenkins misses the mark too, often suggesting women for the poor McMoon to date. But given the time, it makes perfect sense that living in the closet was just something entertainers, such as her biggest fan Cole Porter, had to do in order to obtain employment.

Florence's Spanish-speaking maid Maria is portrayed by Ariella Fiore to the comic hilt as a woman who is willing to do the least amount of work possible while ignoring whatever requests are made of her in English. Maria suffers through Jenkins' frequent sour notes and manages to stay employed even though her culinary skills lean away from anything known to Florence and Clair. Fiore's total lack of grace in serving tea had the audience in stitches of laughter. And all I can say about her idea of formal dress for the performance at Carnegie Hall will remind you of Olvera Street in downtown Los Angeles rather than New York high society! The movable set design by Thomas Brown often requires more than six people, including director Anne Gesling, to move the grand piano on and off stage as the action moves from Florence's high class apartment at the Hotel Seymour to the recording studio where Florence records her latest musical fiasco, to the flower-laden stage at Carnegie Hall. The changes are fun to watch and give the cast members enough time to transform themselves into their next their next scene-stealing ensembles. In fact, all the characters are dressed to the nines throughout the production by Kristie Mattson, highlighted by Jenkins "Angel" with movable wings costume worn to perfection by Erickson for Jenkins' Carnegie Hall performance, a teal blue sequined gown with plumes of peacock feathers worn with great flare by Joanna Churgin, and a wonderfully stylish purple ensemble worn by Diane Baker as Mrs. Verrinder-Gedge, a high society music lover who does her best to discredit Florence at every opportunity. Her frustration at not being able to stop what she considers to be an affront to all opera lovers is telegraphed by Baker through her every uptight movement and facial scour.

GLORIOUS! The True Story of Florence Foster Jenkins, the Worst Singer in The World by Peter Quilter, directed by Anne Gesling and produced my MerEdith Wright, continues through February 5, 2017, on Fridays and Saturdays at 8 pm and Sundays at 2 pm. at the Morgan-Wixson Theatre, 2627 Pico Blvd in Santa Monica, CA 90405. Reserved seats start at $23and can be ordered online at www.morgan-wixson.org or call the theatre box office at 310-828-7519.

Photo credit: JDCPhotograph

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