Glorious! – Hope Mill Theatre

The fascinating story of Florence Foster Jenkins was brought back to mainstream attention by Hollywood in 2016. Hope Mill Theatre’s production of Glorious! covers much of the same ground but does so in a way that feels a lot more focused and a lot less condescending about the ‘worst singer in the world’.

The ever-versatile Ancoats stage is, once again, utterly transformed. Clam shell footlights, a dusky velvet curtain and a vintage gramophone player set the scene.

Charlie Hiscock’s Cosmé McMoon emerges to assure the audience he is not a pseudonym and that what we are about to see is all true. He also plants the core message: that maybe Jenkins was living in a cocoon, but that perhaps that’s a lesson for us all.

The curtains open, McMoon and Jenkins meet, and we are away. Swift storytelling and directing.

Of course, the success or failure of this show ultimately rests on the leading lady. If it was a daunting prospect to step into a role made famous by Meryl Streep, Wendi Peters doesn’t show it. She’s totally superb.

We wait a while to hear the ‘singing’, but it is worth it. This isn’t a one note joke either, so to speak. The madness of the performances keeps amping up throughout the show. Who knew there were so many different ways to sing badly?

Peters commits entirely to the physical comedy that comes with playing a Manhattan society lady of a certain age. There’s an infectious mania to her presence on stage, slapping herself with a fan to hit the high notes.

Her voice is extraordinary, and not just in the songs. There’s a range to it that simply has to be heard to be believed. One hopes there is a ready supply of Manuka honey backstage. Peters continuously has the audience in fits of laughter. Believably American but, perhaps, with a hint of Northern Patricia Routledge-style humour too.

In the second half, Peters pathos and emotion is just as brilliant as the comedy of the first.

Sharing the stage with an actor on top form like that is no mean feat. Especially on your theatrical debut. However, Hiscock is more than up to the task.

His pianist character is the connection to the audience and some of his looks and glances almost steal the show.

Peter Quilter’s script does occasionally err on the side of exposition. There are moments where it feels we are being read a biography. However, the razer-sharp New York retorts liberally peppered through the story more than make up for it. They are delivered with total precision by Hiscock.

There are also so many smart lines about Jenkins’ singing that could be interpreted either way.

Kudos too to Anita Booth, the third cast member, who takes on three entirely different and utterly crucial parts brilliantly. Her Italian maid Maria deserves a show of her own. There may only be three stars on stage but there are many more in the making of this show.

Ingrid Hu’s design is seriously impressive. Jenkins’ period apartment, complete with vintage furniture and opera posters on flock wallpaper, is transformed effortlessly into a bare recording studio.

This transformation is made possible with the help of some very clever lighting design by Mike Robertson. Colours moving from browns to reds and then, in the second half, to gorgeous pinks.

Then there is the sound. Mark Goggins has done something really special in this space. As the action moves from quiet rooms to echoey concert halls, so the amplification also changes. It’s a small detail but it adds so much.

Then there are the costumes. As flamboyant and camp as you’d hope.

There is a real danger that the audience spends the running time laughing at Jenkins too much. Director Kirk Jameson has successfully avoided that. In a way that seems effortless, but is probably incredibly difficult, Jameson has pulled lots of elements together to create some joyful theatrical alchemy.

A brilliant show with a great message. Maybe we should all listen to the voice in our heart a little bit more.

Playing until 30^th March 2025. For tickets and more information:https://hopemilltheatre.co.uk/event/glorious/

Reviewer: Peter Ruddick

Reviewed: 5^th March 2025

North West End UK Rating: