Review of ‘A Tribute To Dalida’: “Bambino-looking gig earns few paroles, paroles of praise”

The Peacock Theatre hosted the West End premiere of this two-act concert —celebrating the life, talent, and personal misery of the renowned singer. Guillermo Nazara shares his views on the show — to let us know if its itsi-bitsi homage should have honoured il silenzio instead.

She was an icon. A legend. To some, even a symbol. And her name rang zero bells to me until I ventured into the Peacock Theatre last week — for a performance starring her Lebanese doppelganger. Surprisingly enough (well, not really, as I was born in my 60s), I had grown up with half of her repertoire without even realizing it — and reuniting with its retro-style melodiousness, combined with her heart-wrenching tale of loss, grief, and despair, was such an experience, to say the least — though not always for the right reasons.

Regardless of my ignorance about an artist who, I confess, has come across as a most pleasant discovery, my views on her copycat version had already started to brew early on. Not much research was needed to understand that, no matter the pitch, style, or appearance of the real Dalida, several attributes in that rendition were undoubtedly wrong. Sadly, a marathon of her original music videos has only helped solidify those opinions.

Played by Mikayella Stephen, the show invites audiences to a musical journey built on the tunes and lovers that defined Dalida’s prolific career — and short-lived existence. A tasselled curtain hides (for an unwanted eternity) a screen taking guests on a photographic walk down memory lane. A live band, overly supported by pre-recorded tracks, serves as the rest of the staging — occasionally filled by a troupe of four dancers doing their best to make up for the show’s noticeable shortages.

The simplicity of its execution is not the real problem, nonetheless. The production may not be lush, but it’s visually pleasing — primarily due to its overall detailed lighting. Stephen’s portrayal, nonetheless, is a much different story — and wistfully, the kind that’s quite unlikely to lead to a happy ending. Or at least, that’s how it came off last weekend — presenting us with quite a disappointing act that, despite her efforts, had next to no salvageable elements.

Despite some tiny yet significant differences, her characterization is, on the whole, acceptable. Her take on the role, however, is not. There’s little resemblance to the actual Dalida — unable to encapsulate any of the traits that form her distinctive identity. As a performer, she exudes elegance and likability. Yet, her naive charm can’t disguise the fact that, in terms of presence, voice, and attitude, her abilities are limited — if not absent at almost all times.

As a result, its song list’s nostalgic vibe can be entertaining and occasionally touching. But when it comes to her skills, the final, long-lasting impression is a lacklustre jaunt deprived of any quality. While she’s repeatedly out of tune and unable to convey emotion or credibility, the script also struggles to counterbalance the flatness of her interpretation. And though this isn’t necessarily the most relevant feature of a tribute concert, its clunky, overdramatic writing can only add more damage to an already crumbling scene.

Though its efforts stem from a histoire d’amour, A Tribute to Dalida is far from delivering an Adonis of a show. Displaying serious flaws all across, the company proves their admiration for their homaged one. Yet, they struggle to do justice to that sentiment — bringing out the love but porting no finesse. Had it been honed with better care and craftsmanship, its finale would have led to a more unanimous feel of bientôt instead of a cutting bye-bye. As of now, though, even Gigi L’Amoroso will have the urge to chant a ballade à temps perdu.

All pictures credit to Glorē Media.

By Guillermo Nazara