If anyone was to ask me to describe my ideal kind of show, I would say ‘something clever, fast paced, compelling, with great live music’. Sometimes you go to a production pretty much knowing this is what you’re getting, for example when I finally get to see the Broadway hit ‘Come From Away’. Sometimes, however, it’s just a complete surprise, which just makes the experience even more exhilarating. This is exactly what happened when I had the complete pleasure of watching ‘Piaf’ at Leeds Playhouse.
A joint production by Leeds Playhouse and Nottingham Playhouse, ‘Piaf’ is a true story of the extraordinary rise from rags to riches of the famous French singer Edith Piaf, written by Pam Gems. Born in 1915, the play focuses on her initial ‘discovery’ whilst singing in the street and the subsequent whirlwind of a journey her life takes thereafter. Her foul language, fetish for young men and chronic substance abuse give the audience a colourful journey through the highs and exceedingly large number of lows. Although clearly still set in France, most of the accents have been replaced by British ones, with Piaf’s strong cockney accent and crass use of language allowing British audiences to appreciate her troubled background.
The most remarkable thing about this production is the music. A lot of the credit obviously goes to the original songs of Piaf that are used throughout, but the production has continued this style of music in all its scenes, with atmospheric incidental music and clever arrangements by their Musical Director Gareth Valentine. As a musician myself, I have a complete respect for shows where the actors perform instruments in role, and in this production the variety of instruments on display was particularly impressive. Again, Valentine deserves another mention, not only for his virtuosic piano performance and conducting, but also the fact he was on stage the entire time. Not surprisingly, he gained the biggest round of applause at the end of the night.
The other aspect that makes this production is the story. The only song I knew by Piaf before the show was ‘Je Ne Regrette Rien’ and I knew nothing of her life. Those of an older generation may know more of her songs and some of the supporting characters in the show, but ignorance made it no less engaging. Indeed, my husband and I went straight to the pub afterwards for a quiet drink, so we could research Piaf’s life, discovering more about her career and music. There’s very little in this show about her character that’s likeable, but her crude, dark humour made her somewhat endearing. So engaging was her story that it could easily have been made into a five hour production. The only thing I felt was overlooked in this production was her creation of the actual songs, writing most of the lyrics and even some of the melodies herself. She clearly poured her soul into these songs, and yet not once is this mentioned in the play. I felt this was a great disservice, as the audience could have seen yet another side to her: her depth, sensitivity, loneliness, and creativity.
Jenna Russell in the title role was simply sublime. Her younger version of Piaf may have been less convincing, but her development of character, her feistiness and energy commanded the stage and demanded attention. Though admittedly I’ve never seen any live interviews from Piaf, Russell’s singing and especially her French accent were sensitive to the original. She understandably removed some of Piaf’s exaggerated vibrato though, making it more palatable for a modern audience where this style of singing isn’t the norm. For me, the actor who stole the show was Sally Ann Triplett, who played Piaf’s faithful old friend Toine. Loud-mouthed and comical, she reminded me of a cruder version of Barbara Windsor, shocking and humouring the audience in equal measure.
Along with Laura Pitt-Pulford, the women in this production absolutely stole the show. The duet between Pitt-Pullford and Russell left me with goosebumps, the former’s powerful, lyrical voice being particularly impressive. In comparison though, a couple of the ensemble members were extremely weak, made even more apparent by the strength of the women. In such a competitive industry, it is genuinely amazing that overall weak performers are able to be cast in such a fantastic show. However, it was only a slight irritation as the rest of the production was of such high quality that these performances could be overlooked.
The direction itself by Adam Penford must also be given a mention owing to its creativity and flawless execution. The action smoothly travelled from one scene to another, meaning the fast pace was maintained. Some of the more stylised scenes, such as the boxing ring match, added variety and visual engagement which kept the audience hooked.
If you’re anxious about returning to the theatre with COVID still so prevalent, then the precautions that the Playhouse take in order to make you feel safe should certainly help ease your worries somewhat. Temperatures are taken as you enter without you even realising and everyone is encouraged to wear masks when moving around the space: and I don’t think I spotted anyone not doing this. Tickets have staggered entry times and the Playhouse has even put on special socially distanced productions for those still not comfortable sitting close to people outside their bubble. For these performances, look for the ‘SD’ mark next to the time of the production when booking online, or ask at the box office.
It’s definitely rare to see a production where I can enthusiastically spend the next few hours talking about its many strengths, especially when in conversation with my husband. But it was genuinely so engrossing. I also immediately booked two tickets for my mother, knowing that she would enjoy it just as much, if not more, than I did, being of a generation where she might recognise more of the songs and famous names within it.
There are shows that I wait desperately to see, with such high expectations about them. For example, when I finally get to see ‘Come From Away’ it had better be amazing because that is what I’m expecting from it after devouring the soundtrack. However, my favourite kind of shows are the little hidden gems: the shows I don’t expect much from and end up being blown away by. It’s not perfect for sure, but this is certainly a rarity of a show. It’s not glitz and glamour with large tap dancing numbers; just a strong production with stunning music, a great storyline and a few exceptionally talented lead cast members.
You have a week left to watch it so book your ticket here now!
Photographs provided by Leeds Playhouse. Feature image: Jenna Russell as Edith Piaf.
