MARILYN AND ELLA. To 15 March.

London.

MARILYN AND ELLA
by Bonnie Greer.

Theatre Royal Stratford East To 15 March 2008.
Tue-Sat 7.30pm Mat 27 Feb 2pm 8, 15 March 3pm.
Audio-described 5 March (+Touch Tour 6.30pm).
BSL Signed 28 Feb.
Captioned 6 March.
Runs 1hr 55min One interval.

TICKETS: 020 8534 0310.
www.stratfordeast.com
Review: Timothy Ramsden 26 February.

Fact-based play infused with a superb mini-concert.
Today, they park cars there, but in 1955 8588 Sunset Boulevard was hot Hollywood nightspot The Mocambo, and Ella Fitzgerald became the first Black entertainer to perform there. Partly, as Bonnie Greer’s fascinating play explains, it was the owner’s response to liberal Hollywood stars, who wouldn’t want to be seen in a place run by a bigot. More specifically, Marilyn Monroe bartered her presence and availability to the press each night of Ella’s run to fix the booking.

This play’s high-spot is Ella’s concert, beautifully recreated by Nicola Hughes, freewheeling through octaves in ‘Mack the Knife’ among other numbers. The women’s relationship, initially nerve-ridden on both sides, is caught in Ella’s ‘I’ve Got You Under My Skin’ and ‘My Funny Valentine’.

Ella, the elder, outlived Marilyn (Greer’s final heavenly reunion is a kitsch too far) and appreciated her as a woman ahead of her time, warning people when the McCarthy gang was coming for them. This appreciation takes time to develop. In the first act they occupy separate worlds, Marilyn at the front, Ella remote behind a transparent screen.

Ella has to overcome her resolution never to perform before a segregated audience. Nor could she imagine Marilyn bothered about her, let alone be aware the younger woman sang her own version of Ella’s ‘Someone to Watch Over Me’ while looking up to Fitzgerald’s portrait as to a protective saint.

And the singer could hardly know of the actress’s inner demons. For Fitzgerald, film and TV stardom were desirable, but she was happy gaining them by entertaining. Monroe aspired to art, working with theatre gurus Michael Chekhov and the Strasbergs. She’s laid out on the carpet (a chilling pre-echo of her later death) when passed-over for a role in The Brothers Karamazov.

Greer successfully shows both women’s spirit and resistance to stereotyping. Hughes is a mild Fitzgerald when not singing, while Wendy Morgan’s finely-judged Monroe steadily unfolds a quiet assertion and generous spirit. Colin McFarlane’s production holds interest through the opening scenes (effectively intercut monologues) before exploding into music (aided by the onstage combo) and the warmth of the women’s relationship.

Ella Fitzgerald: Nicola Hughes.
Marilyn Monroe: Wendy Morgan.
Piano: Warren Wills.
Double Bass/Fender Bass: Kevin Dunford.
Soprano and Tenor Sax/Flute: Leonard Aruliah.

Director: Colin McFarlane.
Designer: Robin Don.
Lighting: Tim Mascall.
Sound: James Tebb for Thames Audio.
Composer/Arranger/Musical Director: Warren Wills.
Assistant director: Mathilde Lopez

2008-02-27 01:01:13