Internationally-renowned musical theatre performers Melissa Errico and Isabelle George land on the London scene for the first time with this two-hander concert celebrating all things French. Guillermo Nazara shares his views on the show, to let us know if the duo’s pièce de résistance ends up being a cause célèbre.
The lady is a tramp! Hey, don’t look at me. I didn’t say it – it was Jeremy Irons. I mean, I guess he may have said it once or twice. All that I know is that he was sitting on the table next to me and that I definitely didn’t take the opportunity to take an unauthorised picture of him… inside the venue. As for my opening phrase, views are just my own (though I’m always right), but as you know (because YOU MUST!), I was just quoting the song. Because that’s what this piece is all about. Those piquantly cloying chansons d’amour (in all its forms) that make our hearts throb to the beat of the Marseillaise while grunting a melodious Vive La France – despite Spain wrecking Europe twice last night (you weren’t expecting that remark coming from me, were you?).
Welcome, or bienvenue (I’m not adding the German term), to Deux Grandes Dames, a cabaret show (no pun intended) celebrating the transatlantic camaraderie between two female crooners from the land of Le Grand Théâtre (this is becoming exhausting but that’s the flavour you asked for… well, someone did!). Melissa Errico and Isabelle Georges landed on the London scene last week, presenting an intimate montage featuring a lavish repertoire, and whose internationality soars beyond its themes.
Previously performed both in France (that’s a no brainer) and New York City, this two-hander concert brings out the grandiose flavour of Broadway’s old-fashioned Golden Era, counting on a selection of classic showtunes (as well as a few newbies) interlaced by their celebration of friendship, love and a Galle-studded taste. Delivered with impeccable technique, the rendition is, in all honesty, an absolute treat to the ears – flaunting astounding ease and dedication through a gig which, despite its staging limitations, still manages to make a long-lasting impression primarily in our eyes – and occasionally, in the soul.
With both actresses oozing sufficient rapport, the concert is able to build a soft bond with its audience, but still finds some minor difficulties at projecting all of the passion it so vividly makes reference to. Both performers exude delightful chemistry and poise in their portrayals, but there’s still an element of magic missing to make that charming spell come into fruition. The reason why may stem in its somehow convoluted structure, which despite trying to follow some kind of arc, fails to construct the proper emotional evolution that would allow the viewer to understand the significance of the act, and subsequently go with the journey.
It’s true that, as you might already be thinking, ultimately this is just a concert. And to some extent, that is correct. Yet, we mustn’t forget that there’s a concept behind, which despite the recurring mentions to it, still feels in some way unexplored The main issue resides in the fact that any related component is not exploited enough. We hear a few fun facts about their careers, as well as their connection to the numbers, but too many times they seem barely scraped – and on some points, completely left out. As a result, we can enjoy their interpretation (eventually, that’s what we’ve come for), but we’re not given that out-of-the-box factor that would grant the show the power to resonate and, finally, make a identity of its own.
In any case, there are plenty words of praise to be earned by the montage’s general vibe. Concocted through beautiful arrangements (which only occasionally can sound a little over-the-top –Send In The Clowns was conceived as a simple piece for a reason-) and put together with aptitude and grace, Errico and Georges consolidate themselves as quite a strong duo who, besides some key tweaks to be made in their material, are still able to entice and, in the end, provide their guests with a rather enjoyable evening that exudes both skill and dedication. With the right corrections, the production could bring up those last flecks of charm and personality it’s so far just capable of hinting – and draw out that the still unfounded closeness to the actresses’ background as well as the land they so fondly pay homage to. It makes a fair allusion, but lacks the sparkle to turn it into a rare illusion.
Production picture credit to Danny Kaan.