Souvenirs are things that help us remember a certain time and place in our life. They are almost always physical items, though now they could also be digital and virtual items. Either way, seeing them, looking at them takes us back. They let us focus our energy on the good, the joyful (usually), and sometimes they help us carry on when times are tough. I had a friend who used to carry around a small photo album filled with pictures of people and places she loved. Just a way to always have that memory, that souvenir.
The memory play Souvenir by Stephen Temperley is just that. It feels like it was written to bring attention to a person who lived life how she felt it needed to be lived, and who brought joy to many people through her voice. It can be seen as a written and a live souvenir of a time and place, of a person - two people actually - as well as an art form. The two-hander starts with Cosme McMoon (played by the very talented Michael Pearce Donley) playing in a piano bar. He doesn't take requests, but someone mentions it is the anniversary of the passing of "her." He takes that into account, and starts to tell the story of his time playing piano for Florence Foster Jenkins (the incredible Vanessa Gamble).
I'm sure you know the name Florence Foster Jenkins. I feel that if you know classical music, and opera in any way, the name has probably come up. The name may be followed with an eye-roll, or a chuckle, or a sense of wonder. A woman who gave recitals, and even sold out Carnegie Hall but could not carry a tune. That takes such a strong belief in yourself, and a strong sense of self to not let others deter you. I felt the core of the show was about not letting fear stopping you from doing what you love, from following your passion. That is what I got from the story of Souvenirs. Then again, I am an artist, performer, writer, so it makes sense that my take away would be that.
The program notes that the director (the wonderful Jeffrey S. Miller) sees the show as reminding us that life, and the people we encounter in it are truly precious. He notes "...whom among us has not had an encounter with someone unusual or eccentric, hurriedly dismissed as weird or "other" only to find, with authentic engagement, to be rich and delightful because of his or her wacky and wonderful differences?" A great reminder that everyone is on a different path, and that by authentically engaging we may change, and grow. I have to make a confession at this point. Jeffrey S. Miller was one of my teachers in college, and my advisor as well. So to coin a phrase that he used during acting/directing classes back in the day, and probably still does - What Worked?
This was my first time at Art House North. It is a lovely space in an old converted church that reminded me of the old Lakeshore Playhouse. It has charm, intimacy, and the location is easy to get to. The performance space had great acoustics, the actors were clearly heard though not on microphone, and I felt the sight lines were good. On the flip side, restrooms are limited, and it is not accessible for anyone using a wheelchair.
The performances were fantastic. It was clear that Donley and Gamble have a great connection as performers on stage. Donley's piano playing was exactly what was needed, and Gamble worked very hard to sound how Jenkin's sounded. THAT takes skill and is an impressive thing to pull off. The music that Gamble performed was everything that I wanted it to be. I also felt the ending was really the perfect way to end a show like this. I am curious as there were quite a few songs that Donley played and sang solo. They fit within the time period, but I don't feel that they really commented on the characters, or the situation. They felt like they were there to cover costume changes (by Barb Portinga, and were stunning), and to denote a passing of time. However they also gave Donley time to shine in his own right, while also giving the character McMoon time to talk about Jenkins, and his experience with her.
This is where things get a bit tricky. The performances were both great! Donley has a difficult job because the character of McMoon can easily be a second fiddle to the power of the Jenkins character. Somehow though he is telling the story, he is also commenting on Jenkins and her musical style. Often Jenkins is considered a joke, and there is much potential for humor in the script - the audience around me was loving it and laughing it up. So if that was the goal, it was clearly achieved and awarded with a standing ovation at the end. Personally, I felt that the character of McMoon came off as bitter, and that many of the lines were jokes at Jenkin's expense - though McMoon was making money, and doing the job that Jenkin's hired him to do. There was focus on if Jenkin's did a recording, how that would affect McMoon, how all his friends would then laugh at him. Looking at Miller's Directors notes, this makes sense. When we are authentically engaging with those on the outskirts, or those that are different, there is a potential to be mocked by those people who don't understand. I get that. However I felt that Donley's portrayal did not show as much of a care or concern for Jenkin's as I felt was potential in the script. I may be the outlier in this instance so go see the show and make up your own mind.
It was opening night, the first night jitters may have played some into the performance I saw. It felt like some lines were not as strongly there as they will be tonight, or later in the three week run. However, it was an enjoyable evening, with some incredible characters to watch, and some music to listen to. If you know anything about Florence Foster Jenkins, you will want to see this work. Jenkins has a lot to say about music, and art....even if she says them in a manner we are not accustomed to. Give her a chance.
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