Review of ‘Judy: I’m Still Here’: “Almost like being in love”

The Ambassadors Theatre hosted last weekend Debbie Wileman’s one-night-only West End performance as she stepped into the shoes of one the greatest movie icons in History. Guillermo Nazara shares his views on the show, to let us know if this tribute act rendition of the great Hollywood diva managed to put him over the rainbow.

When Andrew Lloyd Webber began to conceive the score for Evita, one particular memory flashed back to the top of his mind. Back in the day, the young composer had ventured into the London Hippodrome (by then, known as The Talk of the Town) to attend a solo performance by unsurpassed Hollywood legend Judy Garland. But time, allying with the grief of a jaded soul shattered by too many personal issues, had taken a cruel toll on the former movie wunderkind – breaking her into the smoking ruins of her former glory. The opportunity to experience the splendour that had secured her a place in history was, from the on, gone. And most sadly, so would be the chances to see her back onstage before, only a few months later, her own spotlight would shut down forever.

Tribute acts are always a tricky business to review. Acknowledging the similarities between an artist whose legacy has inspired others to follow their exact footsteps should be no difficult task. But the conflict arises when you ponder how much of a identity the impersonator can bring along when, at the end of the day, their job consists of imitating what others have already done before.

Enter Miss Debbie Wileman to give an answer to our query – or at least, put our questions on hold for a minute. Last Sunday, the Ambassadors Theatre replaced the campness of its current comedy show for, well, another kind of camp and comedy (the kind that you would find if you opened Frank’s closet) – only that there was nothing to laugh about except for a few charming granny jokes.

Immersed in the tinseling glamour of an old-fashioned big band, Wileman comes to the stage in a glittering suit which, aligned with her full makeup design, creates an even swift into that long-lost era – at least, in regards to its looks. As conductor Steven Orich raises his hands to make the journey begin, the wistful allure of that winsome golden age fades in. The expectation commences to unravel. But the skepticism is still high. How much can you fall for somebody who just pretends to be somebody else, as much as that is the key of acting? Well, if tribute acts have standards to look up to, this one has soared way above.

Flaunting exceptional vocal skills, Wileman delivers a compelling persona that smoothly swings between her onscene character and her own individuality as a performer. She does not fake being someone we know she’s not – she just proves how well she’s able to emulate her style, while bringing almost the same passion and truthfulness to a material which, at least half of it, immortalized the name and presence she now so beautifully pays homage to. Yes, there’s a couple of slight exaggerations, but all in all, the essence of her rendition is the impeccability of her craftsmanship. She’s simply such a treat to watch.

Going through an extensive repertoire (to her credit, she did thank us for bearing with her without an interval – now I understand the absence of press drinks), the concert combines Garland’s most iconic anthems with rearranged versions of some other contemporary classics (all of them, masterfully concocted by Orich himself), resulting in a continuous blast of tuneful joy and sentimentality – regaling us with unstopping moments of absolute awe provided not only by the intricacy of Wileman’s portrayal, but especially, by the fact that both her heart and Garland’s seem to reunite bar after bar through the spirited mystique of her interpretation.

There’s as many words as you can say about a show. And in this case, they just happen to be mostly of praise. Bringing out the best side of a tribute act without falling into the gimmick category, Wileman’s rendition (fairly supported by an extraordinary group of instrumentalists) boasts a superb execution that separates itself from the genre’s stereotype and manages to build some levels of uniqueness. You would come to see her for Judy. But you’ll remember her for herself alone.

Picture credit to Joseph Marzullo /The Stander Group.

By Guillermo Nazara