To be tone-deaf is one thing. To be tone deaf and think you’re a spectacular opera singer is a whole other story. Typically, when you can’t sing, you know to shut up and only belt out when alone in the shower.
“Souvenir: A Fantasia on the Life of Florence Foster Jenkins” — written by Stephen Temperley — is based on a true story about a woman who (wrongly) believed that she had the voice of an angel and eventually went on to sing far outside of her own shower.
Florence Foster Jenkins (Terry Kiss Frank) is a socialite with a strong affection for opera music. Believing she has a perfectly pitched voice, she asks Cosme McMoon (Taras Nahirniak) to be her piano accompanist for her first charity recital. Although McMoon doesn’t want Jenkins to embarrass herself after hearing her tone-deaf, unbearable voice, he does not want to hurt her feelings either. With his next month’s rent unpaid, he agrees to be her accompanist for the time being. McMoon is in for a surprise as Jenkins begins with small recitals, to making a record, to eventually having sold-out concerts for her famously off-key voice.
The show is told from McMoon’s perspective as he plays jazz music and reminisces on the many years he spent with Jenkins. In a unique staging, McMoon narrates his past experiences with Jenkins as he simultaneously acts out the memory alongside her. Unfortunately, Nahirniak’s attempt to be funny aims too high.
The biggest issue of “Souvenir” is the extremely unrealistic acting of the only two actors in the show. For example, the audience is shown countless scenes of Nahirniak making over-the-top grotesque faces and sarcastic comments towards Jenkins’ singing capabilities. This should have been a hilarious scene; however, each line comes across as told one too many times, rather than being fresh and in the moment,
Frank plays Jenkins quite melodramatically — yet, Jenkins lives the life of luxury and boasts a know-it-all avenue, so it fits. Frank’s obliviousness to her off-tone voice and belief that people truly love her is believable because she is so exaggerative and certain of herself.
Both Jenkins and McMoon’s grand personalities are expressed exceptionally well in a small box theater, which is a pleasant surprise for those expecting a grand auditorium. The theater only consists of a few rows, creating an intimate atmosphere between the actors and the audience. It’s as if the audience is truly at one of Jenkins’ live performances, which makes it all the easier to catch typically unnoticeable facial expressions.
There is also an overall feel-good aspect of this play. As the play lengthens, Jenkins becomes more of a charming character rather than just a humiliating, hopeless singer. As Jenkins said, “I only hear the music. … It comes from my heart,” which shows how music is more about a feeling inside than the sound quality itself. Her passion for music slowly becomes less about something to make fun of and more about something to grow fond of. Jenkins forms a unique idea that music is in the heart of the musician, not merely what the audience thinks of you.
Overall, “Souvenir” is a light comedy that will definitely resonate with older audiences who will appreciate Frank’s extraordinary wit and her countless impersonations of prima donnas from classic operas. And after seeing “Souvenir,” a beautiful singing voice will never be heard quite the same way.
“Souvenir: A Fantasia on the Life of Florence Foster Jenkins” is playing at the Evjue Theatre at the Bartell Theatre on Saturday at 3 p.m. Admission is $15.
