Glorious. A production surrounded by a sense of joy.

Poster from Linden House Theatre.  Janet Uren as Florence Foster Jenkins.

There might be some glory in the life of Florence Foster Jenkins, but there is little of similar magnificence in Glorious, the weak semi-biographical comedy by Peter Quilter.

Glorious, set in 1944, the last year of Jenkins’ life, recounts how her conviction that she was a great opera singer was in total contrast to her ghastly out-of-tune, out-of-rhythm performances. Yet, she was eventually invited to sing at Carnegie Hall — prestigious indeed, even if it was at her own expense, and many attendees came to laugh at her — and played to a full house, plus packed standing room, with a reported overflow of another 2,000 people clamouring to witness the concert mounted by the legend of the appalling voice.

While Jenkins is the central focus of Quilter’s script, he tries to grind out extra humour (usually failing to amuse, possibly intentionally to remain in line with the singer’s inability to sing). He forces some witty (not) references to the pianist’s sexual orientation, the randiness of Jenkins’ common-law partner, the lack of communication between Jenkins and her Spanish maid and throws in some particularly irritating sequences around her friend’s dying dog.

However, despite the lack of glory in Glorious, Linden House Theatre’s entertaining production, directed by Robin Bowditch, survives and thrives.

This is partly because Joyce Uren, in the lead role, takes her character seriously. She presents Jenkins as someone who takes a childlike joy in her music and her fame/notoriety. While not oblivious to the fact that some come to mock her rather than appreciate her talent, she is firm in her belief that she is a star of the operatic stage. As her pianist says of her, this is because the music in her head is very different from the off-key squawks the public hears.

Uren also succeeds in the difficult task of singing badly on purpose and being so passionate about her efforts, all the while wearing the foolish costumes that were another of Jenkins’ trademarks.

She is well supported by the rest of the cast, particularly Sarah Hearn as the society matron who confronts Jenkins with the truth about her ability.

Among the faces of the other aspects of the singer’s life, Kurt Shantz, at first seemingly uncomfortable in the role of her pianist, Cosme McMoon, really comes into his own in his final monologue. Carolina Barrios is highly expressive as the Spanish-speaking maid and Linda Barber copes well with the somewhat unrewarding role of Jenkins’ always-supportive friend.

As St. Clair, Jenkins’ agent and common-law partner, Barry Caiger has a clear understanding of the requirements of his role, but periodically loses his rhythm when he exhibits some difficulty with his lines.

And, it is worth mentioning that, while the welcoming atmosphere and warm greetings from the front-of-house personnel do not directly affect a production, they certainly contribute to the relaxed mood and sense of joy surrounding the show.

Glorious continues at Elmwood School Theatre to November 15.

Glorious

By Peter Quilter

Linden House Theatre

Director: Robin Bowditch

Musical director: Skye MacDiarmid

Set: Robin Riddihough

Lighting and sound: Bob McKellar

Costumes: Monica Browness

Cosme McMoon………………………………….Kurt Shantz

Florence Foster Jenkins…………………………..Janet Uren

St. Clair…………………………………………..Barry Caiger

Maria……………………………………………..Carolina Barrios

Dorothy………………………………………….Linda Barber

Mrs. Verrinder-George………………………….Sarah Hearn

Radio announcer…………………………………Bob Johnston