I was first introduced to Kneehigh in 2008 when they brought their stunningly beautiful production of Brief Encounter to the Haymarket Cinema. Having only lived in London for a matter of months at this point, I am happy to admit that this was the play that truly cemented my love for theatre in the capital. Struggling at the time to stay motivated in what I can only describe as an overwhelming yet alarmingly uninspiring term of a Drama degree, it completely remotivated me and reminded me that theatre is more than standing outside a laundrette in minus temperatures pretending to be an autumn leaf. It can actually be a bloody good night out.
Absolutely no pressure then for this - another film adaptation from those clever folk at Kneehigh. Expectations were high, the ticket prices even higher and it was going to take something spectacular to live up to Brief Encounter, not to mention justifying spending my entire weekly intern wage in the process.
Visually, Umbrellas of Cherbourg cannot be faulted. The use of a parallel miniature set which brought titters of uncertainty from the audience was an inspired scene-setting decision that set the tone for the quaint kitchness of what was to come. Upon the emergence of the full-sized scenery it was clear that we were in for a real spectacle of an evening: neon signs, iron spiralled staircases, helium balloons and, of course, the titular umbrellas all created an enchanting vision of 1950s Cherbourg.
While the beauty and inventiveness of the visuals could probably have kept me entertained alone, the aspect of the production I was most eagerly awaiting was the music. New musical theatre which challenges convention is always going to be exciting, although in advertising Umbrellas of Cherbourg as "A French romance that just happens to be sung" it is perhaps not fair to expect a score which rivals its West End neighbours. This indeed turned out to be the case, and the non-stop recitative which the actors so valiantly sung through did drag at certain points. The big showstopping moment came with the evening's only stand alone number: "Without You", performed by the effortlessly divine Meow Meow. Two minutes of pure emotion, there was no need for any flashy imagery and the stunned silence which came before a justifiably extended applause cemented this moment as the most powerful of the night. While the entire ensemble was excellent, for me it was the casting coup of Meow Meow which made the production so utterly refreshing and full of joy despite the inherent tragedy of the plot. As our "maitresse" for the evening, she guided us through the action with humour, elegance and more than a few flashes of undercarriage...what a woman.
Umbrellas of Cherbourg is for those who have tired of the identikit musicals that London currently has on offer, although please don't go expecting the actors to turn to you and belt out numbers that you will be singing on the way home. This is an altogether gentler and more immersive experience; part musical, part cinema, part cabaret but all totally Kneehigh. If you go with an open mind and an open heart you'll have a treat of an evening. And I have no doubt that this will provide countless others with their own Brief Encounter moment.
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