Secret Love at the Connaught Theatre, Worthing and on tour
Secret Love – The Life and Music of Doris Day was reviewed at the Connaught Theatre, Worthing and continues touring until 2 April.
Star rating: 3 stars ****
Billed as a heartbreaking new musical play, written and directed by Phil Willmott, Secret Love is more a concert with narrative and acted interludes telling of Doris Day’s career and the many setbacks in her personal life.
The piece is the love child of actress and singer Claudia Morris who, inspired by the star’s autobiography and a passing comment that her singing had echoes of Day, put the show together.
Having successfully toured last year, the show goes on the road again and coincides with the recent release of Morris’ new CD Secret Love.
With the support of a fine jazz trio and the two actors who provide the narrative and play all the other parts, Morris leads the journey from Day’s childhood through to the present day. She also gets to deliver many of the classic numbers made famous by the screen legend.
Day’s life is related by her devoted son, Terry (a nicely judged performance from Glenn Adamson), and through him the audience learn of his mother’s three marriages – none of which had happy endings.
The first was a possessive abuser, the second walked out on her so as not to stand in the way of her career. The third, Marty Melcher, was the main player in her career. Acting as her agent, he boosted her professional life with lucrative film contracts and record deals.
Only after his early death was it revealed that he had wasted all her money on dodgy deals and bad investments. Furthermore, she was saddled with massive debts.
In 2004 her beloved son, Terry died and she then withdrew from the limelight, devoting herself to the care of her animals and their charity. To bring the story up-to-date, a recording is played of Doris Day berating newspapers who write of her ill health. She assures us that these reports are rubbish and that she is fine.
But there were health issues for Day during the filming of Calamity Jane. She had discovered a lump in her breast which coupled with bad panic attacks led to much disruption of the shooting schedule.
Secret Love takes a while to lift off, due mainly to the audience’s initial disappointment that they are not seeing a Doris Day lookalike, nor are they hearing a slavish imitator. That was never Claudia Morris’ intention. There are no physical similarities – the only thing they have in common is a wide, white smile.
Morris is a fine jazz singer who brings her own style and nuances to the numbers she sings. Occasionally, she chooses to reproduce Day’s sound and phrasing. Once the audience adjusts to her concept, they become more responsive.
The choice of the show’s 26 numbers reflects the changing style of Day’s musical career. Several of them fit very cleverly into the storyline, underlining a scene just played. ‘Love Me Or Leave Me’ reflects the break-up of marriage one and ‘I’ll Never Stop Loving You’ follows the death of her son.
In addition to the many parts they play, Glenn Adamson and Morgan James also help out with the vocals. The latter gives a strong performance as Melcher, also displaying a talent for comedy in several other roles.
They also join Morris in some basic dance steps which unfortunately show the three of them at their weakest. Their movements come across as more tongue-in-cheek than serious choreography.
The evening is really a showcase for Morris’ superb singing and the musical talent of her band led by MD Malcolm Edmonstone on keyboards and featuring Jules Jackson and Andrew Bain on double bass and drums.
The show ends with an exquisite version of ‘Secret Love’ and the rousing ’Que Sera, Sera’ with the audience lustily joining in.
Barrie Jerram
www.claudiamorris-music.com/concerts
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