My Judy Garland Life Review
Wed 5th February, Nottingham Playhouse. Adapted by Amanda Whittington.
Of the mind-blowingly good productions I have seen in big cities, (I’m talking mostly about London), I still seem to have an unshakable faith in regional theatre. That’s not always an easy faith to have. There have been a good number of occasions that I’ve walked out of the regional theatre like a disappointed football fan, wishing I’d been more of a glory supporter. I’m not going to over generalise, but I’ve certainly been sorely unsatisfied by the type of theatre – not necessarily by lack of quality but by range and mostly a lack of risk-taking – at local, regional theatres.
My Judy Garland Life, a story about a Judy Garland super fan who presents her fantasised meetings with the Hollywood star throughout her life, is adapted from Susie Boyt’s novel by the Nottingham playwright Amanda Whittington. This was not one of those disappointing evenings. I wanted to be on Nottingham Playhouse’s football team. And I would not have personally chosen to watch this show. I, and probably many in the audience (perhaps the majority), was not nearly old enough to have idolised or even properly known the story of Judy Garland besides the basics. Nonetheless, I wouldn’t be surprised if this show becomes a favourite in the heart of theatre fans and newbies alike.
The cast are relentlessly up for a good time and clearly enjoy themselves, which on this feel-good occasion becomes part of the experience. I’m almost embarrassed to admit I wished it really were Judy Garland alive once more for a one night only performance, only in Nottingham. Sally Ann Tripplett is an extraordinary Judy Garland and brought so much more than a caricature to the part. Unavoidably understated next to Judy Garland (how could you not be?), Susie played by Faye Elvin performed with buckets of dignified, classy enthusiasm for a young actress. The on-stage band ensemble, imaginatively but thankfully, subtly enough, were characterised around the Lion, the Scarecrow and the Tin man. At first, I wasn’t keen, I’m not always a fan of obvious stage devices but I was won over fairly quickly and prove themselves far more than mere devices, but as hugely versatile actors and musicians. On the other hand, as much as I tried to enjoy the talking heads of local residents and school children, I’m not convinced they added what the playwright might have intended them to, though it is probably part of a much bigger discussion about the relationship between reality and make-believe.
The set is very special and pretty impressive if I’m honest. Not to mention, all designed, created and painted in Nottingham Playhouse’s own workshop. It is stunningly utilised as each iconic song and dance is rolled out, ingeniously crafted into the script without any clunk, just a harmony between deep content and delightful performance.
The more I reflect on it, the more I admire the show. Not only does it excel beyond my personal taste and personal interests, it is a great example of how feel-good is not always so bad for the fussy, demanding theatregoer. A talented cast and playwright (especially one as good as Whittington) are critical here of course, but there is something about this play that appeals to any age or style. Yes it is camp, emotionally charged and sickly feel-good, but the layers of identity, reputation and ambition that are exposed and expressed at every turn creates a poignant piece of theatre, much bigger. No matter how glittery it is, it unexpectantly made me think and feel more than anything else has for a while.
Kelly Punton 