Review – I’ll Be Seeing You – Pitlochry Festival Theatre

Well, I never thought I would say that one of my theatre heroes – Simon Russell Beale – was awful, but he really is in this production about Liberace. To be clear, it’s his rendition of ‘Mr Showmanship’ which shows Liberace in all of his sleazy, hypocritical glory that is awful to behold, not Russell Beale’s fine acting. This is a man whose last role was as Titus Andronicus in the RSC’s Stratford version last year and who has been recovering from colon cancer since then. I suspect he absolutely loved playing this role: if he didn’t, the audience certainly loved his portrayal, giving him a standing ovation at the end.

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The play itself, written by Martin Sherman, who plays a part in it too, is brilliant and the co-direction by Ben Occhipinti and Alan Cumming masterly. Without giving too much away, a young man has been commissioned to write a play about Liberace, whom he professes to absolutely hate, not least because he (Liberace) lied under oath in court, saying that he was not a homosexual.

The play is an extremely clever mix of Liberace performance complete with, yes, of course, wonderful versions of his most famous costumes, created in the workshops at Pitlochry, and the ‘back story’ of the young Writer’s own struggles as a gay man indulging in excessive drink and drug-taking, as well as sex parties with liaisons with often nameless men. Russell Beale revels in his outrageous costumes and has perfected that side-eye glance at the audience, making them complicit in his naughtiness. Liberace famously couldn’t close his eyes, due to excessive plastic surgery, and Russell Beale amazingly keeps that wide-eyed look throughout. I hated Liberace and loved Russell Beale.

Fra Fee, as the young Writer, deserves huge praise too. He stumbles onto stage before the house lights go down, all full of apologies and the audience may wonder if Russell Beale is indisposed or some other disaster has befallen Pitlochry – but no, this is just the Writer’s apology for not having quite recovered from his weekend bender. Very, very clever. Trying to conceive how on earth he’s going to write this play when he detests the subject so much is his first obstacle; then Liberace himself and his seductive counter-arguments become the bigger conundrum.

Sherman’s writing is exceptionally clever, as he puts the arguments for and against ‘lying’ in court equally strongly. His introduction of Oscar Wilde into the equation is genius. If this doesn’t make you think, I’d be surprised. All the while, of course, it’s really entertaining.

Pitlochry Festival Theatre Production: Staging and Supporting Cast

Ali Watt and Adam Kashmiry, as Liberace’s two ‘hunks’ camp it up outrageously and also help with costume and set changes quite seamlessly. Kashmiry has few lines, whilst Watt is allowed to question the Writer without the personal ‘baggage’ of Liberace himself – though we are given some insight into how disposable he feels in the life of the entertainer. His lines may be few, but they pack a punch and show us a man behind yet more glitter.

The stage set, designed by Tim Hatley, like the costumes, was made in-house at the theatre. It’s really, really clever and projects out into the auditorium on one level, but also allows for Liberace to make a spectacular entrance from on high too. Initially staging the Writer’s abode, with a small upright piano, it transforms into a Las Vegas stage, complete with a white ‘Liberace’ grand piano, candelabras and a chandelier. This is real show-biz stuff.

And, oh my, Anne Lacey, as ‘Heidi’ – an audience member –, someone’s mother and a sparkly nun, is as versatile as those roles suggest. I loved her nun’s costume, but she comes into her own as the mother. Again, brilliant writing by Sherman and a fabulous, chameleon touch from Lacey.

And Sherman himself plays the Writer too. It’s beautiful, touching and a stroke of genius, which I believe Cumming suggested. Despite majoring in drama, Sherman has never appeared on stage in a professional capacity before. At 87 – yes, he really is – he’s a marvel, and this play would be nowhere near as affecting or effective without his appearance in it. Bravo for embracing life to the full!

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Sherman has described the play as the most surreal play he’s ever written. In all its flummery, I think it’s pretty serious actually and asks us not to take things at face value, nor to make judgements based on things we perhaps don’t fully understand. I understand Sherman doesn’t set out to make the audience think anything in particular and doesn’t like to intellectualise whilst he’s writing – that works for me. Enjoy it and take from it what you will.

Featured Image: Simon Russell Beale and Fra Fee in I’ll Be Seeing You, © Tiu Makkonen

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I’ll Be Seeing You will play the Pitlochry Festival Theatre until 11 October 2026. For tickets or more information, click here: https://www.pitlochryfestivaltheatre.com/whats-on/ill-be-seeing-you/