SOUVENIR: A Fantasia on the Life of Florence Foster Jenkins

Florence (Judy Kaye) starts her Carnegie Hall performance with coloratura favorite "The Bell Song" from the opera Lakmé.

SOUVENIR: A Fantasia on the Life of Florence Foster Jenkins; by By Stephen Temperley, directed by Vivian Matalon. Starring Judy Kaye and Donald Corren. American Conservatory Theater, 405 Geary St., San Francisco. (415) 749-2228. www.act-sf.org. Through March 15, 2009.

A COLORATURA PERFORMANCE

Pardon the pun and alliteration, but “pitch-perfect performance” is an apt description of Judy Kaye’s remarkable depiction of the famed egocentric, self-delusional, tone-deaf, New York City cult icon, Florence Foster Jenkins who fancied herself as a coloratura soprano. Kaye received a Tony nomination for her 2006 Broadway stint playing opposite charming, talented Donald Corren. A.C.T. wisely has brought intact the Broadway cast and design team for this quality production that is a “must see” show.

As indicated by the sub-title, author Temperley has created a fantasia that is as much about Cosme McMoon, her tutor and accompanist as it is about Lady Florence. The time is 1964, 20 years after her death. McMoon, tells the story of their 12 year relationship as he plays riffs and sings snatches of verse from “One for My Baby” and “Crazy Rhythm.” Corren is not only an accomplished pianist, he also possesses deft comedic timing and is a master of non-verbal interpretation and pregnant pauses, both necessary to hold his own with the superb dominant Judy Kaye who last year won the hearts of San Francisco in her role as Mrs. Lovett in “Sweeney Todd.”

Jenkins and Cosme met in 1932 when pianists Cosme, an unsuccessful songwriter, was 29 in need of a rent paying job. Her screeching voice matches the sound of fingernails scratching a blackboard but in her head, she hears the music of the spheres even though Cosme suggests the notes are not quite perfect. They embark on preparations for a single recital in the Ritz Carlton Ball room and she erroneously interprets the thunderous applause and stomping of feet as admiration for her singing rather than a blunt attempt to hide their derisive laughter. This leads to further recitals, as she becomes the butt of jokes throughout New York and eventually being asked to perform in Town Hall. Cosme deftly dissuades her and the Ritz Carlton recitals continue, finally culminating in a sold out performance in Carnegie Hall. (“There were 1200 in line at the box office hoping to buy a return ticket!) And what a performance!

Kaye is absolutely superb as she bounces on and off stage with six fantastic costume changes (Tracy Christensen), hilarious stage movements all adorned with facial expressions to die for and a indescribable horrible voice. The Carnegie Hall audience eventually raises havoc with catcalls, which she once again believes to be approval. In the charming bittersweet penultimate scene, Jenkins has self-doubts that Cosme banishes with half-truths still wondering if she is “resilient or crazy.”

The ultimate scene where Judy Kaye steps out of character to sing “Ave Maria” is the perfect ending to a marvelous evening bringing the audience to a standing ovation.

Running time 2 hours and 15 minutes with an intermission.

Kedar K. Adour, MD

Courtesy of TheatreWorld Internet Magazine.