Piaf, May 17, 2000

By Pam Gems; Melbourne Theatre Company

at Playhouse, Arts Centre, May 17 until June 17, 2000

Reviewer: Kate Herbert

There is no one like Caroline O'Connor. There is no-one like Piaf. 

Casting the former as the latter was a stroke of genius. O'Connor is vivid, vibrating with joy and anguish as she sings and swears her way through the "little sparrow's" roller coaster life from street waif to drugged-out superstar chanteuse.

Evidently, O'Connor's chose the role and, with director Adam Cook, approached Sydney Theatre Company to create Pam Gems play about Piaf's life.

There is an uncanny resemblance between the two women. O'Connor is a tiny, peculiar urchin with a mobile face, great passion and exceptional vocal skill. She is magnetic as the wild, exotic, brassy working class girl, who cannot live without "l'amour".

The play itself travels through Piaf's entire life. It is lest successful in its opening ten minutes that are awkwardly written and uncomfortable for the actors.

Act One traces Piaf's grubby, poverty-stricken, early life in short episodes. Act two lingers on scenes in her later life when she fights morphine and alcohol addiction, injuries from numerous car accidents and a broken heart.

O'Connor is supported by an excellent cast. Simon Wilton, Michael Carman, Vince Colosimo and Mitchell Butel play all the men in her life: waiters, lovers, bosses, agents, criminals. Butel even does a charming and credible Dietrich impersonation.

Genevieve Lemon is a warm, honest and hilarious presence as Toine, Edith's only friend from her youth, who weaves in and out of Piaf's life.

In spite of all the company she keeps, Piaf is desperately lonely. In spit of her wealth she cannot "hold on to anything". Her street roots never leave her.

O'Connor croons and belts out Piaf's tunes, her heart in her mouth, leaving one breathless. Piaf lived her life as if peeled. She was totally exposed and in the final two songs, La Vie en Rose and No, je ne regrette rien, O'Connor captures her soul.

The play itself is not as good as its subject or its actors. However, it is witty and, strangely, the transposition into rough cockney allows we English speakers to understand the history of Piaf.

 Dale Ferguson's design is subtle and shimmering with a huge half image of Piaf suspended above it. The band, under musical director Ian McDonald, is a gift.

This is a fine production and a perfect vehicle for our finest musical theatre star.

By Kate Herbert