Glorious
Award winning show, Glorious, written by Peter Quilter was initially performed at Birmingham REP Theatre before heading to the West End in 2005. It is, once again, returning to the stage, thrilling audiences with comedy, laughter and questionable singing.
Based upon the true story of Florence Foster Jenkins, Glorious explores the tale of ‘The Worst Singer in the World’. Told from the perspective of her striving pianist Cosmé McMoon, the scene is set in 1940s New York. Jenkins, born in 1868, lacks any musical talent, yet has a strong passion for music and opera singing. Using her inheritance to support her performances, Florence Jenkins shares her ‘talent’ through eccentric shows, viewed by those who enjoy the extravagance (including the likes of Cole Porter) or those who wish to ridicule her. Ultimately, Florence Jenkins remains confident in her own musical ability and fulfils her ambition of performing for a full audience at Carnegie Hall.
Although not a single perfect note (in resemblance of Florence’s unique selling point), a perfect performance from Wendi Peters brings Florence to life on stage. Her acting and intentionally terrible vocals, lead to the ‘unqualified triumph’ Jenkins is said to have been herself. Peters’ ability to control the musical numbers whilst maintaining the depiction of someone unable to sing, provides hilarious, gripping scenes. Although a repetitive joke, which viewers come to expect, each song continues to bring much audience laughter.
Comedy is the highlight of Glorious with a hilariously witty performance from Wendi Peters to emphasise Florence Jenkins’ extravagant and eccentric manner. Despite a few unscripted prop incidents, Peters recovered seamlessly, maintaining character and matching the extravagance shown through the remainder of this well-rehearsed portrayal. This exuberance is, however, contrasted with the more subtle comedy of Cosmé McMoon, shown initially through his frustration and embarrassment of association with ‘The Worst Singer in the World’. Delivered well by Charlie Hiscock, his deadpan one liners add further comedy value. Credit must also be given to Anita Booth, who portrays differing characters with ease and embodies their personalities well to complement or contrast that of Florence Jenkins.
Set design is used strategically, the focus of each scene often remaining the piano, emphasising the passion for music. Minimalistic in design, the sets are effectively used to facilitate transitions on and off stage and capture the stylistic features of the 1940s. The simplicity of the staging allows additional focus on the immaculate costume designs. Whilst Cosmé remains suited, changing into a tail suit only for Carnegie Hall, Florence’s range of costumes embody her eccentric, exuberant personality.
Under the direction of Kirk Jameson, Glorious captures the powerful message of embracing passion and talent (or lack of, in this case) and following one’s dreams, regardless of those who choose to criticise. A simple, yet effective three person play, suited perfectly to the intimate nature of the Hope Mill Theatre, audiences will leave with a smile on their faces and laughter ringing in their ears.
This show was reviewed on the 5th March 2025 at the Hope Mill Theatre, Manchester where it runs until the 30th March 2025. Tickets available here: Glorious! – Hope Mill Theatre
Review written by Gabrielle & Rachael Groves
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Photo credit : Cian O'Ryan
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