By DAVID DUPONT
BG Independent News
From her first entrance Mary Boyer as Florence Foster Jenkins makes a striking impression. Not surprising. As Florence states later in the scene: “Every entrance and exit here is done with a flourish.” The here is her Manhattan apartment which she shares with her companion a struggling elderly actor St. Clair Bayfield (Tony Triano).
Everything in the play “Glorious” is done with a flourish.
Based on the true story of the reputed “worst singer in the world,” the Lakeside Theatre Company’s production “Glorious” opens tonight (9/22) at 7:30 p.m. in the Maumee Indoor Theatre. It continues Friday and Saturday at 7:30 and Sunday at 2 p.m., continuing next weekend, Sept. 29 to 0ct. 1 at 7:30 and Oct. 2 at 2 p.m. Tickets are available at: www.thelakesidetheatrecompany.com.
The troupe brings in professional actors for its productions – Boyer had a role in “Orange Is the New Black” and other lead actors Triano and Mary Aufman, who plays Florence’s best friend and collaborator Dorothy, have extensive New York credentials. That is to say, they are far more accomplished than the characters they portray.
Florence, St. Clair, and Dorothy live in a world of their own creation. Florence’s persona is so sincere that she, despite her voice, attracts some notable fans including Cole Porter.
They are attended by a long-suffering maid Maria (Gloria Wang), who is constantly on the verge of being fired, or quitting. Maria speaks what we are told is Spanish. But it is really an indecipherable gibberish that nonetheless communicates very clearly her frustrations with this dotty lot.
When Boyer, who also directs, sings, she warbles along in such a way that sounds ridiculous, yet I never doubted that in her character’s inner ear this is wonderful.
Into this world steps Cosme McMoon (Paul Leland Hill) a struggling young pianist, whom Dorothy discovered playing in a restaurant accompanying people chomping down on mediocre meatloaf.
He has questions about taking the gig as Florence’s accompanist, especially after hearing her voice. He tries to guide her through a vocalise and realizes she has no sense of pitch or rhythm, and then when she endeavors to sing an aria, she screeches in hair curling fashion.
“The first lady of the sliding scale,” is the description used by Roz Miller (Victoria Tinker), the tabloid reporter who serves as the guide to her career.
She sings for galas put on for various social organizations, whose members are women. Florence interviews anyone who buys a ticket to try to sort out the naysayers, though she’s aware they are in the house, snickering and carrying on in the back rows.
She may be an inglorious singer, but she has a glorious spirit , cheerful and determined, even when confronted by one Mrs. Verrinder-Gedge (Melanie Miller) who is circulating a petition to have her banned from New York stages. She criticizes Florence to her face with full-throated high-minded criticism.
Undeterred Florence follows her tone-deaf muse all the way to Carnegie Hall.
This all could be a one-note comedy, but the cast brings out all the shades of the characters.
While Florence, St. Clair and Dorothy who is constantly bustling about taking care of set design and other matters of the production, are unwavering in their belief, Cosme certainly knows better. He only takes the job because of the generous pay made possible by Florence’s inheritance. Not only must he keep his opinions of his employer’s lack of talent in check, as a gay man, he must also keep details of his personal life secret.
Hill is a classically trained pianist and handles the actual piano playing with aplomb, keeping the music anchored as Florence blissfully drifts off course.
The dramatic action never drifts. The strong acting keeps the attention riveted on what’s unfolding on stage. Some may even come away thinking “I’d go hear Florence Foster Jenkins perform.” Alas, that’s not possible, but theatergoers do have a chance to enjoy this glorious retelling of her story.
