I set off to experience 1950s Florence in Leicester on a chilly, rainy morning in May, the day after my 21st birthday, which means that I’d now be too old to marry Fabrizio. I first became acquainted with Piazza a couple of years ago, and I only really got into it when I read a detailed synopsis and the entire thing came together beautifully. I really think that this show has the most beautiful score in years and it’s a perfect example of taking a rather slight story and turning it into something extraordinary. The Curve Theatre is an ultra-modern, state of the art venue, where the ushers scan your printout with handheld beeping machines (I prefer old fashioned tickets), rather than telling you where to go. It’s as if it wants to be like the National Theatre, but at present feels a bit too big and empty. In spite of all this technology, there was a technical hitch during the overture, in which the audience was nearly blinded by the lights and Michelangelo’s David failed to land, and Paul Kerryson had to come up on stage to apologise. Fortunately, all was resolved before long and I had plenty of time in between the show and getting the train back.
Paul Kerryson delivers a slick, beautifully designed production that perfectly evokes the luxury and glamour of 1950s Florence (with a touch of film noir in the stylised staging of Aiutami) and the production values are very impressive indeed. The sets (George Souglides) look as if they’re made out of white marble with projected views of the cathedral. Amongst the stylish array of costumes, Margaret’s red two-piece is a highlight (shame about Clara’s wedding dress though- I’d psyched myself up for something really gorgeous, but it looked like a bit of net curtain). The rich-voiced Lucy Schaufer is a very highly-strung, twinset-and-pearls, disapproving Southern matron, who certainly isn’t as instantly likable as Victoria Clark’s Margaret. I applaud her for taking such a different approach and it’s clear that this Margaret isn’t a whole lot of fun to be around, and one can see why Clara might prefer the informality of the Naccarellis to her mother’s iron control. Schaufer delivered the bitterest Dividing Day I’ve ever heard, and it was very touching to see her gradually mellow and come to terms with Clara’s development. Her The Beauty Is (reprise) was magnificent, as was her Fable, which made me sob. It’s easy to see why the Naccarellis would be so enchanted by Caroline Sheen’s Clara (“Una ragazza antiqua!”), who sings with a lovely, sweet voice and she perfectly captures the childish role she’s been assigned to and the womanly hormones emerging. I’ve always suspected that Clara is more advanced than her parents realise (“So much blind acceptance…”), and although the way that she’s been so sheltered and mollycoddled has all been well intentioned, it’s held her back even more. There’s also the question of what exactly is ‘normal.’ Matt Rawle was a pleasant surprise as Fabrizio, as my expectations were not high (too old, and I hated Zorro so much…). He was endearing, boyish and a bit awkward (the hairstyle didn’t really do him any favours though), and his Italian accent was no worse than those of the American Fabrizios.
There is fine support from Eliza Lumley as bitchy, romantically disillusioned sister-in-law Franca (I loved her English lesson with Fabrizio), whose philandering husband Giuseppe is perfectly portrayed George Couyas- completely sleazy, but still weirdly attractive. The Italian parents are also well played by Graham Bickley’s Signor Naccarelli, initially delighted by the romance between Fabrizio and Clara before being a bit freaked out at the thought of his little boy growing up so fast, and Jasna Ivir brings warmth as his wife, who also gets the best line in the show (“I don’t speak English, but I have to tell you what’s going on”).
This was more than worth making the trip to Leicester for, and I hope it gets the chance to enjoy a life outside the Midlands. An old fashioned yet modern unashamedly romantic musical with a gorgeous score and beautiful aesthetics- what could be better? It certainly makes me want to visit Italy and learn Italian… and find a Fabrizio of my own.
(This review refers to a performance that took place on May 13th 2009)
