REBECCA ✯✯✯
CHARING CROSS THEATRE, LONDON
Written in 1938 the gothic novel Rebecca by Daphne Du Maurier was quickly turned into a film. And that film, directed by Alfred Hitchcock went on to become Best Picture at the Oscars. The source material has enormous potential, but it was a huge challenge that Michael Kunze, Sylvester Levay and Christopher Hampton took on in turning this prized story into a musical. This month it has its London premiere at the Charing Cross Theatre directed by Alejandro Bonatto.
The key character (Lauren Jones) is mainly nameless at first. She is just the paid companion of the garrulous socialite Mrs Van Hopper (Shirley Jameson). Whilst they vacation in Monte Carlo her mousey, unassuming demeanor attracts the attention of the widower Maxim de Winter (Richard Carson), much to her and everyone else’s surprise. They quickly fall in love and she is whisked off to become the new lady of the de Winter mansion. Only when she arrives does she realize that the house, its staff, and possibly Maxim are still under the spell of his dead but not in any way forgotten wife, Rebecca. Indeed, the obsessive housekeeper Mrs Danvers (Kara Lane) is doing all that she can to keep Rebecca’s memory alive. In a cruel attempt to humiliate the new wife Mrs Danvers tricks her into dressing as Rebecca at the first costume ball she hosts. In the face of these and other threats to her marriage, our leading lady is finally goaded into action. If she is to save her sanity and her husband from the beyond the grave manipulations of Rebecca she has to truly claim her role as the new Mrs de Winter.
It’s a tale of cheating, blackmail, murder and obsession. So much juicy gothic potential. However, it’s not until the new Mrs. de Winter starts to fight her corner that the show gains its oomph. The first third is a largely pedestrian love story. The songs mirror this and it isn’t until the show shifts to the more rousing and energetic ensemble numbers set in the mansion that the production hits its stride. Even then the audience seems hungry for a more extreme and emotive treatment of the gothic elements. It doesn’t quite evoke goosebumps despite the accomplishment of the performances and the strength of the vocals. This version of Rebecca is evocative and entertaining but has room to dial up the danger.
Queerguru Contributing Editor ANDREW HEBDEN is a MEDIA & CULTURAL STUDIES graduate spending his career between London, Beijing, and NYC as an expert in media and social trends. As part of the expanding minimalist FIRE movement, he recently returned to the UK and lives in Soho. He devotes as much time as possible to the movies, theatre, and the gym. His favorite thing is to try something (anything) new every day”
