A Mirrored Monet, a new musical from Carmel Owen, arrives in Edinburgh from New York, an opens upon an older Monet (Logan Crawford), artistically blocked, and looked after by his widowed step-daughter/daughter in law (don’t ask), Blanche ( Rhian Ferrigan). It’s 1916, and despite financial security, the war means luxuries which make his life tolerable (food, wine, cigarettes) are only available by special Government dispensation. Dispensation which depends on his continuing provision of works in his beloved ‘Water Lillies’ series.
Seeking the source of his problems, Monet will journey back through his memories, to times spent as an impoverished artist in company with names such as Manet, Renoir, and Pissarro, attending the birth of Impressionism. History rarely falls out in neat, three act structures, as so Owen takes Monet’s history and moulds it into shape.
Young Monet played by Broadway regular Matthew Hydzik (you have to wonder how Greenside Nicholson Square compares), is an utter optimist, in love with the outdoors – En plein air. He will meet his first wife Camille (Sarah Haddath) at a salon overseen by Manet (Craig Hunter), and full of artist chums, including best friend Renoir (Chris Dodd).
Despite being championed by the widely beloved Manet, these young artistic pups are frowned upon by the establishment embodied by the Marquis (Marc McMillan). In one of Owen’s numerous ‘nudges’ to history, he will be aided in suppressing these upstarts by influential critic Louis Leroy (Graham Mackay-Bruce), in return for monetary gain. Unlike Van Gogh, Monet and the Impressionists will make it big despite this opposition within their own lifetimes. Older Monet doesn’t lack for success, or powerful friends, he’s just lost his artistic mojo.
Crawford knows how to work the enlightenment-resistnat curmudgeon, familiar to Edinbugh audiences as Ebeneezer Scooge in the Royal Lyceum’s well regarded rendition. He has some awareness of the audience, addressing them directly, an idiosyncrasy put down to his failing eyesight. Indeed the ‘look back in search of answers’ shape of ‘A Mirrored Monet’ is not a little reminiscent of Dicken’s Christmas classic, which has been put to music more than once.
The score here is sophisticated and very pretty, Owen very much a fan of the big note ending, which Hydzik & co nail time and time again. However there seems to be a conflict between writing a ‘sing through’ piece, and theatre with songs as it were. The result is a great deal of sung content which is either conversational, or expositional – the emphasis thus falling on clear meaning, over memorable melody. There are exceptions, particularly the wonderful ‘En Plein Air’ and a jaunty ‘I’ll do for you, if you do for me.’
Of the performance, however, there can be little criticism of a cast who each sound gorgeous, and who combine to create titanic harmonies to delight under Musical Director Neil Metcalfe. The acting is absolutely sound, Director Fraser Grant running a smoothly choregraphed production, and laying out the story clearly, and with style. Indeed quality runs through this production of ‘A Mirrored Monet’ in every respect.
The narrative is always interesting, but never over-complicated, finding the joys of the high days and the heartbreak of Camille’s ultimately early death. The shifts back and forth through time are accomplished cleanly, and without the need for awkward breaks, and without excessive sentimentality. Older Monet isn’t a constant ghoul, looking on Scrooge-wise at the mistakes of his past. Indeed it’s really only towards the finale that both Monet’s spend considerable time on stage together, and having kept the show’s powder dry, their duet has all the more potency.
Yes, perhaps, Owen is taking liberties in pointing to Camille’s excission from Monet’s life (by his next wife who proved insanely jealous), as the root of Monet’s problems, but this is a musical, not a documentary. Kudos are also due to the minds and technical hands behind the show’s constant, and epic backdrop, and separate canvas upon which art is prone to appearing. It really does set a ‘big’ experience vibe in every way.
There really is just so much to admire about ‘A Mirrored Monet’ in every respect, it simply needs another ear-worm or two so it passes the ‘humming it all the way home’ test. This could be the beginning of a musical success story
By
By
