Review: VIVA LA DIVA! – FLORENCE FOSTER JENKINS ⭐️⭐️⭐️⭐️ at Schouwburg Amstelveen

Florence Foster Jenkins. Famous and infamous. American socialite and an amateur soprano with very poor opera singing skills and over-the-top costumes. Yet she did manage to perform in one of New York’s musical gems, Carnegie Hall. At age 75, 25th of October 1944, her life-long dream came true. 2800 seats of the auditorium were filled to the brim (with a waiting list of over 2000 people, who couldn’t get in).

Jenkins, who had been ill with a case of syphilis after being contaminated by her first husband Dr. Francis Thornton Jenkin at age 16(!), was in poor health throughout her life. The syphilis diagnosis is important, as it is known to cause deafness. In a medical report by J B Nadol Jr, it states: “Syphilis, both congenital and acquired, may cause sensori-neural hearing loss. Congenital syphilis presents in two forms: early (infantile), and late (tardive). Acquired syphilis, both secondary and tertiary, may cause deafness. The clinical course of the acquired and congenital forms are similar. Sensory-neural hearing loss with low discrimination scores may affect both ears simultaneously or sequentially, and vestibular complaints are common.”  

Therefore, Florence probably didn’t hear her own tone-deaf singing. Beside the fact that she was dramatical and full of theatrics, she probably fully believed in her own talent.

Florence had performed throughout her life and recorded a LP. However, she had always been protected against the press and ‘outsiders’ and general mockery, mostly because of her ‘husband’ St. Clair Bayfield (their relationship was not clearly defined).

So when she finally performed at Carnegie Hall (fully paid for by herself) the sarcastic and harsh reviews were everywhere and could no be longer shielded from lady Florence. Wikipedia states…The New York Sun critic: “Mrs. Jenkins has a great voice. In fact, she can sing everything expect notes. Much of her singing was hopelessly lacking in a semblance of pitch, but the further a note was from its proper elevation the more the audience laughed an applauded.” Even worse was the critique from the New York Post: “Lady Florence… indulged last night in one of the weirdest mass jokes New York has ever seen”.

Five days after the concert, Florence suffered a heart attack and died at home a month later.

How could her life not be transformed in a play, the reason for this piece. This play premiered on the Edinburgh Fringe in 2001 (script by Chris Balance), it’s about time for a new version here. In a direction by Han Oldigs, produced by Stichting De Tiende Muze & Triplet Agency, we get sucked in the world of Florence Foster Jenkins, and believe me, it’s her world and we all live in it.

Frédérique Sluyterman van Loo is Florence, who enchants the audience in her portrayal of this fascinating woman. Oppose her is real-life husband Erik Brey, who plays both St.Clair Bayfield as pianist Cosmé McMoon. What a smart choice and lovely duo (trio) to behold. Frédérique is a gifted singer in real life, so being able to sing off-key is quite the challenge. During the songs she doesn’t go overboard in sounding off-key, she plays with timing, rhythm, interpretation and sometimes goes full out… on the wrong key.

Erik plays Cosmé McMoon, the painfully awkward pianist who didn’t really want to be known as the ‘pianist of Florence Foster Jenkins’ as in academic/ musical circles, that would be musical suicide. Erik is a gifted pianist and as McMoon, is a guaranteed laugh. His comedic timing, together with Frédérique, they create a lovely, awkward, and incredibly funny dialogue throughout the play. By removing his glasses and adding of a scarf, Erik becomes St. Clair Bayfield. A totally different man, and he plays both splendidly. As Bayfield, he invites the first two rows to throw roses, when she takes her encore. Very clever.

But stealing all thunder is Frédérique. As Florence, she’s either unbelievably naïve, incredibly confident, or blind and tone-deaf all at once. After listening to her LP, she hears herself as others do, probably for the first time. With her diagnosis in mind, she would hear herself (or not hear herself) differently when singing live. But a recorded voice is something else.  Shaken, she goes to St. Clair, who reinsures her.

This play is way more than only funny, it has the biggest heart and lesson. At some point, Florence states: “People may say I can’t sing, but no one can ever say I didn’t sing.” Even though her final days must have been heartbreaking, Florence is an inspiration.

Having such a strong believe in oneself, is only to be admired, damn what the world thinks. She sang her heart out. And boy, she did so with flair. 

For more info: www.vivaladivatheater.nl

Photo credits: Annemieke van der Togt 

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