Imagine a friend who sings along with the radio. Imagine that she sings badly. The notes she actually hits are few and far between, and she doesn't know the words. But, somehow, she thinks she sounds just as good as (or even better than) the lead singer of a popular band. She's rocking out, and it's profoundly awkward.
Such a scenario is comparable to the premise of "Souvenir: A Fantasia on the Life of Florence Foster Jenkins." Ms. Jenkins (Leigh Barrett), whose character is based on an actual historical figure, believes that she is a distinguished, talented and cultured soprano, when in fact, she is virtually tone-deaf.
Barrett plays her part admirably, and her off-key singing makes for many hilarious moments on stage. Always in character, she does a good job of looking as if she believes there is nothing wrong with the way she sounds. She's fully convinced that her audience isn't laughing, but simply overcome by emotion. Jenkins flounces around on stage, discussing classical arias and using Italian lyrics in everyday conversation. Even when she talks, it's as if she's still trying to sing. Her voice is breathy and changes pitch often. Jenkins obviously loves her music, and believes in herself with a child-like innocence that is at once endearing and pitiful.
Crucial to the theatrical retelling of Florence Foster Jenkins' life is Cosme McMoon (Will McGarrahan), a character based on Jenkins' accompanist. The story is told as if McMoon is remembering Jenkins' life on the anniversary of her death. He narrates the show, and his dialogue with Jenkins is interspersed with his personal observations and commentary.
McMoon plays piano and sings with tunefulness that only emphasizes Jenkins' mistakes. In contrast to the almost slapstick hilarity of Jenkins' off-key performances, McMoon's humor is intelligent and witty. McGarrahan grounds the show, keeping the story from getting lost in Jenkins' craziness. Since his character is so real and believable, it's easier to accept the fantastical Jenkins.
The first half of "Souvenir" is captivating. Through dialogue, the audience comes to understand Jenkins. Her faith in herself and her love of music are so winning that we can almost forgive her for her truly terrible music. The consistently funny McMoon also comes to life in the first half by becoming relatable and engaging.
The second half of the show centers around Jenkins' performance at Carnegie Hall. Sadly, the dialogue virtually disappears, leaving only Jenkins' musical performance. Admittedly, it's funny to watch her prance around, utterly convinced she's a professional. She changes costumes for each number, and they are progressively more and more extreme. But without the dialogue that was so important to the beginning of the show, Jenkins' antics grow tiresome, and her singing becomes painful rather than funny.
Jenkins only doubts her musical talent for one moment in the show. At the end of her concert at Carnegie Hall, she begins to hear laughter rather than applause. Lighting, consistently emotive through "Souvenir," clearly demonstrates how devastating this moment is to Jenkins normally confident character. Later, Jenkins asks McMoon to truthfully tell her if people were laughing. McMoon, rather than tell Jenkins that she hasn't been in tune since he met her, reassures her that her voice is beautiful.
"Souvenir" focuses on the debate between letting a person live in a fantasy world or forcing that person to live in reality. Though Jenkins clearly enjoys her music, the fact remains that her friends' encouragement misleads her musical aspirations, as they lie to her about her ability to sing. This is all the more disconcerting when we consider that "Souvenir" was inspired by an actual person.
"Souvenir" is loosely based on the life of the real Florence Foster Jenkins, who was born in 1868. The wealthy Jenkins divorced her husband and moved to New York City, where she performed for her close friends before progressing to a larger venue: Carnegie Music Hall. Audience members were supposedly known to stuff handkerchiefs in their mouths to keep themselves from laughing, but Jenkins took no notice. She even recorded an album, which is played briefly during "Souvenir."
"Souvenir" leaves it to the audience to decide whether Jenkins' music is pitiful or courageous. The show is entertaining and asks important questions, but no matter the moral verdict on the performance, it's clear that to both the real and the imaginary Ms. Jenkins, "what matters most is the music in your head."
