Joanne Clifton and Sarah Rose Denton in Norma Jeane the Musical at the Lost Theatre, London. Picture: David Elms
Norma Jeane the Musical continues at the Lost Theatre, London until 18 June.
Rating: four stars ★ ★ ★ ★ ✩
It was appropriate to have the press night of Norma Jeane the Musical on 1 June, when, had she lived, the legendary Marilyn Monroe would have celebrated her 90th birthday.
The Lost Theatre created a fabulous atmospheric welcome as the audience walked along a red carpet, greeted by the paparazzi’s cameras, a real sense of old style ‘Hollywood’ glamour.
Norma Jeane the Musical takes place in the ward of a mental institution, where following the breakdown of her marriage to Arthur Miller, Miss Monroe has been admitted. Prone to bouts of depression and addicted to medication, Marilyn is haunted and troubled by voices in her head, which escalate as the hospital deprives her of her ritual fix.
The musical explores the influences on a troubled and dysfunctional life. Three actresses play Monroe at different stages of her life – Sarah Rose Denton is the broken Norma Jeane left alone to cope with her demons, with Strictly Come Dancing’s Joanne Clifton as the glamorous film star Marilyn and Ruth Betteridge as the young Norma.
The main protagonist occupying Norma’s mind is her uncle, played by Joseph Bader. Like other members of her family, he had suffered depression and taken his own life. And now, in the forefront of her mind, she can hear him calling, cajoling and questioning.
The story takes us from Marilyn’s birth, through various foster homes, her marriages, and her hugely successful film career. Oddly, it doesn’t touch on the abuse she suffered throughout her childhood, the miscarriages and the disastrous relationships with high-powered men. It also only skims over her marriages. All events that must of taken their toll on an already fragile mind.
The cast of 14 work well together and there is a real sense of camaraderie. Denton’s performance of the tortured soul is enhanced by her vocal talents; Clifton looks extraordinarily beautiful and totally embraces Marilyn’s sex symbol persona throughout the entire show, although her singing does lack vocal strength. There is a pleasant voice waiting to unleash itself, Clifton just needs to be a little braver and give it a bit more welly. Betteridge is an enchantingly naive Norma, on the threshold of discovery.
Bader is both vocally and physically powerful as the uncle and Will Teller is outstanding in the cameo role of Stanley Gifford, the man Marilyn always believed was her father.
The plot is interesting, although considering the situation, it would have been better had it felt a little more sinister. Here is a world famous woman, locked away, alone with only voices for company – no doubt a terrifying ordeal, but it doesn’t quite deliver on an emotional level.
The lyrics and music have been written by no less than seven people, which accounts for some interesting variations in styles. ‘Look in the Mirror’ and ‘Encore’ by Anton Mullan, who was original MD when the show was first produced in Walthamstow last year, and ‘It’s Time to Come Clean’ by Orna Klement, particularly stand out.
Christopher Swann’s direction is a little staid at times and, with a few exceptions, the cast must project more and enunciate clearly, as some dialogue is lost.
Norman Jeane the Musical is produced by KSW Productions, the Lost Theatre and Randy Smrtnick, who is also assistant director. The book is by TL Shannon, with lyrics and music by Anton Mullan, Ali Isabella, Andy Street, David Martin, Mike Daniels, Geoff Cotton and Orna Klement.
The musical director is Alex Bellamy, who is also responsible for the orchestrations, and there is some impressive choreography from Adam Scown. The set is designed by Peter Bingemann, costumes by James Thacker (who also designed the fabulous poster) and lighting by Sky Bembury.
Yvonne I’Anson
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