I suppose, as a touch of journalistic integrity, I should make a confession: I haven’t seen a play I absolutely loved in years. I’ve watched a handful of enjoyable plays, and watched even more wonderful pieces of writing reduced to shabby miniatures of their previous selves, but only a few plays truly deserved the sadly requisite standing ovation at the end of modern performances.

At Souvenir, not only did I happily consent to the applause, I may have been one of the last to stop clapping.

Souvenir is a quirky musical, to put it mildly. That is based on fact only adds layers to the already toppling tower of impossibility the script presents – set in the 1930’s and 40’s, a rich philanthropist named Madame Florence Foster Jenkins, smashingly played by Gina Gedler, decided to make the step to opera singer, eventually selling out Carnegie Hall in 1944. Despite her confidence and a conviction that she was blessed with perfect pitch, she was, perhaps, the worst singer in history.

Perhaps I should repeat: she sold out Carnegie Hall. Madame Jenkins would tackle impossibly hard songs, convinced of the quality of her voice, and the tears of laughter wetting the feet of the audience were merely seen as tears of joy by the Madame. Her fans would give standing ovations for minutes at a time in the midst of her songs so they could laugh without her hearing. For, in what seems such an improbably twist of the human nature, everyone loved her, despite the laughter.

Now, there are difficult roles for actors to portray, yet I have no doubt that Miss Gedler could handle whatever was thrown at her after watching her performance that night. Not only does she utterly repulse you with a savage mangling of the most beautiful and sacred opera songs ever written, but she, astonishingly, wins you over with such wonderful naivety and bubbling enthusiasm that, exactly like the audiences in her day, you laugh somewhat ashamedly, so you clap to encourage her.

I have never seen a play in which an actor could create such a complex reaction in the audience – to bring tears is not easy, but it is simple. Make the audience sad. To bring mirth is not easy, but it is simple. Make the audience laugh. But to bring the audience to joyful tears, and then cause a raucous, yet embarrassed applause? I do believe that is rare.

The play is told by her semi-willing pianist, Cosme McMoon, who Matthew McIver breathes such wonderful life into. He narrates the story as a fond recollection of memories, and that sad glean of nostalgia never leaves his eyes, nor voice. He is as shocked by her as the audience, yet he guides the listeners towards her, slowly reveals her as the gem she was. At times he is baffled, often he is embarrassed to be on the stage with her, yet he cannot tear himself away. The utter faithfulness of Mister McIver’s emotions allow no room for the audience to wiggle – we must love Madame Jenkins, and we wish to protect her sensibilities, and support her despite the intense, piercing, hilarious pain in our ears, so that she will be happy.

For often plays are written to provoke emotion. Souvenir forces you to react. I have nothing but praise for Stage West in choosing this production, and can only hope that Miss Gedler and Mister McIver garner the praise they deserve for such incredible performances. Souvenir will be running from Wednesday until Sunday, and to miss this play would be an epic tragedy.

Rarely do I gloss over the specifics of a play, but the novelty and utter talent put into this production leaves me with no choice, lest I ruin the magic floating in the air. See it, see it twice, bring a friend and a date, there are no third wheels at Souvenir.

Showtimes: Wednesday – Saturday: 7:30 PM

Sunday : 3PM

Tickets: Wed-Thurs: $20

Fri-Sun: $24

(Purchasable at the Civic Center Box Office)

Popularity: 3% [?]