A Review

Lost In The Music

By R. J. Donovan

On a weekly basis, "American Idol" demonstrates that there are plenty of people in the world who, while unable to carry a tune in a bucket, honestly believe they have genuine musical ability.

Skip back sixty years, witness "Souvenir: A Fantasia on the Life of Florence Foster Jenkins," and you have America's original misguided talent.

"Souvenir," written by Stephen Temperley and receiving its Boston premiere at Lyric Stage, is a gem of a show, sparkling all the more by the two performances at its center.

First produced in New York in 2005, "Souvenir" tells the real story of Florence Foster Jenkins, an eccentric society matron who fancied herself a coloratura soprano, and Cosmo McMoon, a composer and Jenkins' musical accompanist. Cosmo also serves as narrator of the evening, stepping in and out of the story to comment and move the plot along.

Despite an appalling lack of ability, Florence had a true appreciation for music. Her misstep was that she set out to share that appreciation with a group of close friends by giving classical vocal recitals in the ballroom of the Ritz Carlton Hotel. With no particular need for fame, she sang purely to benefit her favorite charities. 

As a girl, she had originally studied piano. However an arm injury cut that career short and she turned to singing. Her father, perhaps detecting her deficiencies, forbid her from a career in music. It was only after his demise that she used her inheritance to pursue her musical passions.

Despite being tone deaf and approaching music in a whirl of malapropisms, Florence truly believed she had a gift to share.  

The sad fact was that she wasn't kidding anyone but herself. The audience knew she was awful, but they were enthusiastic all the same. Concert attendees included everyone from Cole Porter to Beatrice Lillie. And when audiences laughed, she heard the patronizing reaction as supportive rather than mocking.

Florence did not sing arias as much as attack them. And she never saw sheet music as something to be adhered to. She felt the notes on the page were merely "signposts left by the composer to guide us."

So how could someone like Cosmo, a gentleman with actual musical talent, agree to work with someone so musically challenged. After all, he knew from the beginning she had a "certain want of accuracy."

In truth, he took the initial gig because it was a job. He needed the money, and he probably never saw it as anything but a one-time concert, filling a privileged woman's private passion. His own passion was to become a successful composer-- a goal he often spoke of but never achieved.

Amazingly, Florence's first recital was a success. More followed. Crowds grew. Word spread. A recording contract came. Curiosity built. Tickets to the concerts became coveted. And everything peaked with a legendary performance at Carnegie Hall that concluded with an encore that ripped the rose-colored glasses off Florence's eyes once and for all. She died shortly thereafter, some say from a broken heart.

Although Cosmo may have been leery of the lady when entering into the collaboration, he ultimately proved to be very protective of his musically-incompetent singing star.  He agreed to work with Florence believing that first concert would be a private event -- not open to the public, and with no attendance by the media. But as each concert escalated and Florence's exposure grew wider and wider, he became the voice of reason, desperately trying to suppress her reach and save her from her own folly.

For "Souvenir," director Spiro Veloudos has recruited two of Boston's favorite talents -- Leigh Barrett as Florence and Will McGarrahan as Cosmo. 

Having one of the most powerful trained singing voices in Boston, Barrett swoops and soars off-key without ever making it cartoon-y. She is particularly funny when rehearsing "Ave Maria" (the Schubert version of course!-- the Gounod version is purely for mezzos, she dismisses). 

As Cosmo, McGarrahan is smart and witty and delightfully dishy as he gets further and further involved with his musically-dented diva. While all Florence's concert songs are classical selections, the evening is framed with pop standards of the day. Will gets to show off his own musical skills, not only playing piano for Florence but singing such standards as "Crazy Rhythm" and "It All Depends On You" as counterpoint bookends for the action.

While the premise is wildly funny, the final moments of the show take a touching tone with Cosmo explaining the fundamental upon which Florence's confidence was based. That the voice she heard -- the voice that resonated in her own head -- was pure, melodious and possessing perfect pitch. 

To drive the point home, the closing scene finds Florence returning one final time, elegantly dressed, to sing in that pure voice no one but she ever heard.

Leigh then delivered "Ave Maria" with such breathtaking precision that it brought a standing ovation from the audience. (As well, Robert Cordella's subtle lighting effect for this final moment was particularly lovely.)

In the end, "Souvenir" skillfully hits all the right notes, piercingly off-key as many of them may be.

"Souvenir" is at Lyric Stage, 140 Clarendon Street in Boston, through March 17. For information, call 617-585-5678.

-- OnStage Boston

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