The Australian chat show host Clive James famously introduced viewers to Margarita Pracatan, a singer who became a cult favourite not for the quality of her voice but for the chaotic joy she brought to every performance. Florence Foster Jenkins, the real-life American socialite at the centre of Peter Quilter’s Glorious!, shares more than a little of that accidental charm. Jenkins became a sensation in New York despite being unable to sing in tune, eventually securing her own concert at Carnegie Hall. Quilter’s comedy, now on tour and presented at Theatre Royal Windsor, explores her unusual bond with her loyal pianist, Cosmé McMoon.
Audiences may already be familiar with Jenkins through Meryl Streep’s 2016 screen portrayal, yet Quilter’s play is a more intimate affair. With a cast of four and the action tightly focused on Florence and Cosmé, the production leans into the eccentricity and affection at the heart of their partnership.
The story begins with Cosmé’s first meeting with Florence, where his disbelief at her vocal abilities is matched only by his desperation for work. He agrees to accompany her on recordings and at live recitals, gradually becoming caught up in her delusional yet oddly endearing world. Much of the comedy comes from Florence’s unwavering confidence in her own talent. She speaks earnestly about tackling Tosca at the Met and interprets audience laughter as adoration rather than amusement.
Like Pracatan, Jenkins drew crowds not because her music was moving but because it was irresistibly funny. The play captures this dynamic with warmth. Florence’s fans are devoted, even if for reasons she never quite grasps, and Quilter’s script balances affection with gentle satire.
Yet Glorious! only ever skims the surface of Jenkins’s extraordinary life. Several key biographical details are mentioned briefly, enough to anchor the narrative but not enough to satisfy anyone hoping for deeper insight. Cosmé, who also serves as the show’s narrator, is somewhat underwritten. His personal life is hinted at more than explored, leaving the audience to fill in the gaps.
What the play lacks in depth, it more than makes up for in laughter. On this front it is a triumph. Wendi Peters delivers a magnificent performance as Jenkins, throwing herself into the role with gleeful abandon. Her physical and vocal comedy is superbly judged, skilfully walking the line between caricature and compassion. The audience roared their approval throughout.
Matthew James Morrison brings charm and precision to the part of Cosmé. His dry observations land beautifully, and he plays the growing friendship with Florence with a sincerity that gives the play its emotional anchor. Their dynamic becomes particularly touching when Florence is confronted by an offended music lover. In that moment, the play shifts, revealing the vulnerability beneath her bravado and the loyalty that binds the pair together.
Kirk Jameson’s direction ensures the show moves briskly without feeling hurried. The tone is buoyant, the humour consistent and the affection for its eccentric heroine unmistakable. You may leave the theatre still wanting to know more about Florence Foster Jenkins the woman, but as a piece of entertainment, Glorious! more than earns its title. It offers an evening of raucous laughter, irresistible warmth and a reminder that passion can matter far more than perfection.
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