Posted: Saturday 24th May 2008

Reviewed by Gregory Hughes

This is a new musical premiering at the Theatre Royal Haymarket in London. It is written by Alain Boublil and Claude-Michel Schönberg, who were behind such West End hits as Miss Saigon and Les Miserables, and has music by Michel Legrand.

The story is based on Alexandre Dumas’ novel “La Dame aux Camélias”, although updated to a setting of France during the Second World War. The eponymous heroine, Marguerite, is a society goddess, holding glamorous parties and enjoying the high life of Nazi-occupied France whilst the going is good, caring nothing for the plight of the ordinary French citizen. She is in a sham relationship with a German Colonel, Otto, who pays for her lifestyle and keeps her as his mistress even though she hates him. When she embarks on a passionate affair with a member of the Resistance, many lives are endangered.

Musical stalwart Ruthie Henshall stars as Marguerite, and certainly has the ability and presence to carry the part of the glamorous heroine. She shows a great vulnerability, especially when alone one stage; and her solo songs are performed with a delicacy of touch and enough vibrato to stir the heart. Julian Ovenden plays the part of the dashing pianist Armand, her younger lover; and Alexander Hanson completes the love triangle as Otto, the bad-tempered German officer who wants to possess Marguerite. The prologue to the main story sets the tone and seeds an underlying feeling of doom, and it is quite a surprise when the lights come up to reveal a dazzling set. The chandelier, piano and Regency-style décor capture much of the idea of high society that ended with the war, and the first scene introduces the audience to a host of appalling creatures who party whilst the British bombs fall on Paris. This is a memorable set-up, and as the party-goers flee to the shelters, only Marguerite remains, with the visiting pianist. They kiss as the bombs approach. This provides for some spectacular lighting and visual effects, which are strong throughout.

This is not, however, a musical without its problems. Whilst the acting, scenery and much of the music is very good, there is the feeling that Marguerite never quite reaches its full potential, and much of the blame for this can be pinned on the story. In the romantic fiction of Dumas’ era that owed much of its appeal to the fairytale escapism, suspension of disbelief is expected; but it asks too much of an audience watching a war story to believe in the romance of the two lovers. Armand has only seen Marguerite perform once, many years ago; and she does not remember him; yet after only one kiss we are asked to believe that this is a love-conquers-all romance. Neither is the audience given anyone to sympathise with, since none of the central characters is in the least likable. Marguerite is presented, initially at least, as a shallow woman who doesn’t treat anybody nicely, and as part of a selfish and hedonistic sect of society. Armand too, is the least likable of his bunch of friends and heeds none of their warnings when starting a romance with Marguerite; yet later seems surprised when they all end up in trouble, including his sister. Armand’s later plan of revenge also lacks impact, because he is not motivated by any noble reasons. Even in the height of Armand and Marguerite’s passion, it is difficult to care one way or the other whether the romance survives, and this undermines the impact of the story.

The subplot of the Jewish Lucien’s romance with Annette, Armand’s sister, is one of the most empathetic elements presented to us, though his storylines frustratingly don’t come to fruition as the focus remains on the central characters and so the fate of this character lacks a dramatic punch.

With these problems of plot, Marguerite fails to provide the emotional impact of the creators’ other works. It is visually striking, memorable has some wonderful moments; but the overall production doesn’t hang comfortably together and the overall effect is unsatisfactory. Nevertheless, it is a slick, polished and mainly well-acted production and provides entertainment for a few hours. Whilst not a classic, Marguerite is an enjoyable and competent evening of musical theatre.