Renée Fleming is an accomplished operatic soprano with a voice of ravishing beauty and the capacity to move opera audiences to extremes of emotion by her extraordinary singing and her skill as a musical performer. Indeed, some of the finest moments in this play occur when Fleming sings the odd phrase or legato line. “Was that a bird?” She asks, then trills sublimely: “Oh no, it was only me”.
Indeed, the most interesting thing about this reworking of the piece is that, while it may be called Gigi, and there is constant talk of, with and about her, the fact is that Gigi is but a supporting character. Really, the musical should be retitled Gaston because this production is about him in every way. Victoria Clarke, Dee Hoty and Howard McGillan shine as the experienced Broadway’s stars they are. But Corey Cott is a true, enduring star in the making and the whole evening is worth it to watch Cott’s assured steps on that path.
The throbbing, majestic and luminous heart of this production comes from Katie Brayben’s faultless, radiant and absolutely triumphant turn as Carole King. Brayben recreates the feel, the sound, the look of Carole King in a completely authentic and resonant way – she feels like the natural woman.
Derek McLane provides a set which looks like the shattered innards of a grand piano. The proscenium is framed by bits of piano, and the back wall is almost entirely taken up by a tangle of piano wires – they stand in for the Woods in some ways. But the overall result is that the audience is constantly reminded that they are not watching a musical; they are inside one.
It’s soon to arrive in London. For a show that has been running for a year on Broadway, it is in tight, taut and terrific shape. Not a single person is dragging the chain; everyone is entirely immersed in the work and everyone can sing the music properly. It is an absolute pleasure from start to finish.
