Souvenir brings out the tender friendship between Florence Foster Jenkins and Cosmé McMoon.
25 September 2018
KC Arts Centre—Home of the SRT
19–29 September 2018
Leigh McDonald’s singing is a torturous mixture of a rusty kettle whistling; frogs being forced to croak as they are placed on a hot pan; and a screeching banshee on speed.
But no one is complaining because she is playing self-styled opera star, Florence Foster Jenkins in Sing’theatre’s latest production, Souvenir.
In this two-hander written by Stephen Temperley and directed by Samantha Scott-Blackhall, there is less focus on Jenkins’s infamous croaking, but more on the friendship between Jenkins and her piano accompanist, Cosmé McMoon (Hossan Leong).
McMoon recounts his time with her—from the first meeting all the way till her death shortly after her concert at the Carnegie Hall, which was packed to the rafters. He also struggles with how best to deal with her; does he tell her the truth or prevent her blissful bubble from bursting?
What starts out as an expedient relationship—McMoon falling behind on his rent—soon develops into a bosom friendship.
Appearances can certainly be deceiving. Despite the simple set and staging (piano, chair, tables, three layers of satin curtains, light change to differentiate the scene and McMoon’s internal monologue), the whole show can easily crumble if the friendship between the two characters are not established gradually but surely.
I am happy to report that by the end of the show, we are cheering for Jenkins and McMoon. This is not out of derisive amusement, but of genuine affection.
McDonald, while clearly having fun on stage, is careful not to portray Jenkins as some crazy old bat. She has a balance of child-like innocence with a sort of confidence that is not merely delusional, but it also comes from her wealth and status.
This proves to be an irresistible mix as we see her swaying to her own recording with her palms facing outwards at shoulder level at one moment, while at another, she assures McMoon that she is going to secure his future.
But where McDonald really shows her acting chops is when Jenkins is hurt on two occasions—when McMoon flares up at her, and when she realises the audience is laughing at her. It is interesting to see how she and Leong navigate the gamut of emotions and negotiates a reconciliation for both characters.
Speaking of Leong, despite struggling to maintain his accent, he is a joy to watch. His constant reactions to Jenkins are pitched perfectly. From the widening of the eyes to gasping for air, or his legs buckling a little on encountering her delusions of grandeur, Leong is a brilliant counterpoint to McDonald. Apart from sending the audience roaring with laughter, the subtle changes of his reactions over time also allows one to see the blossoming of an endearing relationship.
That said, it must be noted that McDonald gets too carried away with being out of tune, especially during the scene of the Carnegie Hall concert. Based on the actual recordings, those unfamiliar with the song can roughly make out the original tune. However, McDonald’s renditions comprise a cacophony of sounds.
Yet, Sing’theatre has undeniably given us a souvenir that is not only entertaining and comforting, but it also sends us out with our hearts singing.
“Souvenir by Sing’theatre: Play about off-key singer hits right notes” by Akshita Nanda, The Straits Times Life!
“Review: Souvenir by Sing’theatre” by Bak Chor Mee Boy