M.Couzens Reviews
Reviewers
Marilyn and Ella
Photograph by Robert Day
by Bonnie Greer
Directed by Colin McFarlane
Musical direction by Warren Wills
Theatre Royal – Stratford East
15 February - 15 March, 2008
ary Couzens
A review by Mary Couzens for EXTRA! EXTRA!
American writer Bonnie Greer first became intrigued with the notion of writing a play about the friendship between Marilyn Monroe and Ella Fitzgerald while working on her second novel. Switching the television on for ‘background noise’ a documentary about Monroe came on, during the course of which it was briefly mentioned that the star had been friends with jazz singer, Fitzgerald. That revelation provided inspiration to Greer then, as her resulting musical play, Marilyn and Ella may well do for many audience members at Theatre Royal, Stratford East now.
It is 1955, and Marilyn Monroe, fed up with being seen as a dumb blonde, re-locates to New York in an attempt to regain control of her life, taking acting classes with Lee Strasberg at the Actors Studio. The production company she is starting, Marilyn Monroe Productions will go on to produce two films designed to show-case her often ignored acting ability: Bus Stop (1956) and The Prince and the Showgirl (1957), the latter with none other than Lawrence Olivier as her leading man. Jazz singer Ella Fitzgerald is another popular performer whose career is on the rise, with one essential difference – her race prevents her from achieving the stardom she is rightly entitled to. At this point in her singing career, she seems to be resigned to a future of endless touring, with under-stated entrances through the back doors of sold-out engagements at third rate clubs. However, unbeknown to her, Monroe’s desire to see her favourite singer, Ella Fitzgerald installed as headliner for a five night engagement at the previously all-white, Hollywood star filled Mocambo Club, has inspired her to invite the club’s owner to reap the benefits of the publicity frenzy which will surely ensue as she sits ‘front and centre every night.’
Rather than attempt the impossible, seasoned Director Colin McFarlane sensibly aims for the essence of his much-publicised characters in Greer’s theatrical treatise on collective woman power, rather than pursuing carbon copies. And it’s both surprising and delightful to be able to recount just how closely he and his supremely talented cast come to achieving that objective! At first glance, neither Nicola Hughes, who plays Ella Fitzgerald or Wendy Morgan as Marilyn Monroe are without weaker aspects in their characterisations, but these are so few, brief and well directed, that they almost manifest themselves as natural flaws in their character’s ‘characters’, rather than weaknesses in their performances – such is the persuasive power of professional acting! The moments in which the two actresses shine so outnumber any in which they might momentarily falter that the aforementioned, quite literally, become lost in the memory, as momentary triumphs mount up.
Set design by Robin Don sets a glamorous tone from the outset on the open stage with its décor of chaise lounge, bear-skin rug, record-player and evening gown fit for an icon on a dress-stand, all in Monroe’s famously favourite colour – white. The centre of the set’s ‘diamond’ background opens to reveal a black velvet curtain for Hughes as Fitzgerald to sing in front of when Monroe’s boudoir is transformed into the tropical Macambo Club at the interval and Morgan as the film star takes to one of the theatre’s boxes to smile and pose for the ‘press’ as promised. A tight, lively trio, made up of Kevin Donford on Bass, Leonard Aruliah on Tenor Sax and Flute, and Pianist Warren Willis, who seemed capable of playing anything, in any style, added a sense of immediacy to Hughes vocal renderings as Fitzgerald in the second act.
Nicola Hughes is alternately funny and poignant as Fitzgerald, as she recounts details about her life particularly the racism encountered along the way to her (invisible) fellow travellers and musicians, and tackles one hit after another in the singer’s cannon. Seminal classics include ‘Someone to Watch over Me’ and ‘I Got Rhythm’, among many other hits, a personal highlight being a stunningly moving rendition of Rodgers and Hart’s ‘My Funny Valentine.’ Having been fortunate enough to have seen Ella Fitzgerald perform live with Count Basie near the end of her long, ultimately illustrious career, I can only say that Hughes has the singer’s ironic sense of humour and body language down. However, her strong singing captures Fitzgerald’s seemingly eternal youthfulness best on ballads, as her accent doesn’t quite convince on more upbeat numbers, despite the fact that she draws laughs with apt vocal references to Satchmo and other popular singers during the course of her performance. But as Hughes seems to have taken something of her character’s determination and verve on board, she will, doubtless continue to grow into her role with every performance, especially as the essence of her character is already there.
Nicola Hughes as Ella Fitzgerald
Photograph by Robert Day
As the visually iconic Monroe, Morgan also has her work cut out for her, and she rises to many of the challenges her role presents, artfully garnering laughs with each of her character’s seemingly unknowing, drolly witty remarks, though somewhat excessive writhing on the chaise lounge scenes stretch the imagination a little too far and could do with some pruning. Her breathy voice seems apt for Monroe, as heard expressed through film and recorded song, and Morgan handles the performance of favourites like ‘Gentlemen Prefer Blondes’ admirably, but one sometimes wonders at the appropriateness of her whispery speaking voice, particularly when it’s accompanied by lavishly Marilyn-esque gestures in scenes when the actress is meant to be on her own. Like fellow icon James Dean, who passed away in 1955, Monroe was decidedly, not what she appeared to be. That’s not to say Morgan’s performance doesn’t dazzle, as it often does, particularly during her character’s most intriguing moments with Hughes as Fitzgerald. When Morgan stands back in her blonde wig and trademark red lipstick and carries herself in a certain way, she also bears an uncanny resemblance to Monroe, particularly when she is sporting her tortoise shell sunglasses. Movement Coach Clive Curtis has done an admirable job guiding both actresses, though judging by their high standards of professionalism, many hours of research have, no doubt, also contributed heavily to the strength of their performances. In scenes when Morgan’s Monroe is on the phone, talking to producers, agents and the like, one gets a building sense of the actress’ inherent sense of loneliness, which is further emphasised by her later remark that even though there are so many stars in the sky, they are ‘all alone.’
Wendy Morgan as Marilyn Monroe
Photograph by Robert Day
But Greer’s play and, subsequently, this production, is not as much about appearances, as it is about feelings, in particular feelings of self-worth. Watching ‘Ella’ and ‘Marilyn’ interacting during their own individual moments of truth is as much about being truthful with oneself as it is about the improbabilities of a friendship between these two, seemingly different women, with, in actual fact, as it turns out, more than a little in common.
As such, Marilyn and Ella is not a tribute show, though it definitely pays tribute to its two starring characters. It is, rather, a celebration of both Monroe and Fitzgerald’s individual and collective power at a moment when their paths intercepted one another, in the guise of two strong women, doing good for one another. As a touchingly star-struck Monroe puts it upon meeting her idol, Fitzgerald, ‘You are the one who gets me up in the morning, and helps me sleep at night.’ Anyone who has ever allowed themselves to be swept up in the heart and soul of any art form could definitely empathise.
Box Office: 020 8534 0310 www.stratfordeast.com
Theatre Royal Stratford East, Gerry Raffles Square, London, E15 1BN
Copyright © EXTRA! EXTRA All rights reserved
Reviewers
M.Couzens Reviews
