Eve Polycarpou in Jacques Brel is Alive and Living in Paris at the Charing Cross Theatre. Picture: Scott Rylander
Jacques Brel is Alive and Well and Living in Paris continues at the Charing Cross Theatre, London until 22 November.
Jacques Brel is Alive and Well and Living in Paris (conception, English lyrics and additional material by Eric Blau and Mort Shuman and based on Brel’s lyrics) could be considered the original ‘jukebox musical’. Originally staged Off-Broadway in 1968, it is a musical revue that celebrates the work of Jacques Brel.
Belgian singer-songwriter Brel’s compositions have been described as literate, thoughtful and theatrical. His lyrics often coming across as poetic, although he always denied he was a poet.
He was widely considered a master of the modern chanson and, although he recorded most of his songs in French, he became a major influence on English-speaking songwriters – performers such as David Bowie, Leonard Cohen, Marc Almond and Rod McKuen. English translations of his songs have been recorded by many top American performers.
This revue is a glorious spectrum of Brel’s compositions – ranging from the grotesque to the sublime, dealing with love, desperation, sex, death, absurdity and beauty. Delicate ballads mix with dramatic numbers in Andrew Keates’ production, forcefully delivered with the lyrics being roared and spat out as though Brel was the Punk of his generation.
Reflecting the milieu where Brel began his career, the stage has been dressed as a cafe/cabaret within which Gina Beck, Daniel Boys, David Burt and Eve Polycarpou and the band – led by MD Dean Austin – perform.
The jaunty ‘Brussels’, recalls the city before the Great War, and is one of many great ensemble numbers. Complete with bowler hats and canes they tap dance a la Chaplin until the mood changes and steps change to marching and the canes to rifles (choreography is by Sam Spencer-Lane). In complete contrast they sit on the edge of the stage as they sing the haunting ‘The Desperate Ones’.
The sweet voice of Beck is shown at its best in ‘My Childhood’ and the poignant ‘Old Folks’, but she is also capable of expressing intense passion. She thrives alongside the band’s heavy rock that backs ‘My Death’ and even manages to bring a touch of comedy to ‘Timid Frieda’.
Much of Brel’s work is dark and ‘Next’ is a good example with its declamatory remembrance of his conveyor belt journey through the Army’s medical inspection and its mobile brothel. Boys puts this across forcefully as he does in ‘Statue’.
The ever reliable David Burt displays his talents well, both in dramatic numbers and in the softer compositions where his voice occasionally cracks with emotion. It is in the former that he really stands out. Be it as the jaded libertine who recalls his younger days when they called him ‘Jackie’ or as the corpse popping up from his coffin where he cynically visualises his own funeral and berates the hypocrites attending. In ‘Amsterdam’, he paints a vivid picture of the port and the rancid sailors who inhabited it.
Surpassing all the other fine performances are the contributions from Polycarpou who truly captures the Gallic flavour of Brel. Her ‘Sons Of’ is delivered with anguish underlined with fierce anger. Her powerful voice allows ferocity to seep out in other numbers, but is sharply contrasted when she sits on the floor as a busker, gently singing ‘Ne Me Quitte Pas’ totally in French. No translation is needed as the heartbreak of being abandoned is all too evident. In ‘Carousel’ the words get faster and faster as though the fairground ride is out of control, turning a pleasant ride into a rollercoaster nightmare.
The final number ‘If We Only Have Love’ is a wonderful anthem to hope.
Minor quibbles would be that often numbers end abruptly with a brief pause before the transition to the next number. The audience is confused as to whether they should applaud or not. And selfishly one wished for an extra half an hour to include some favourites omitted.
Barrie Jerram
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