Edinburgh Festival Theatre – until Saturday 15th October 2022
Reviewed by Ellen Searle
4****
Cher is an icon of the modern music era, with a unique voice and dozens of super high quality hits that really do stand the test of time. She is critically acclaimed actor, with movies from Moonstruck to Mamma Mia Here We Go Again enjoyed by millions. But a crucial ingredient for any kind of biographical production to work and endure is a life story that is genuinely interesting. Cher’s most certainly is!
Add to all of this the talents of Jersey Boys writer Rick Elice, the directing and choreography of household names Arlene Phillips DBE and Oti Mabuse respectively, and you have a sure fire hit on your hands.
The show stars three West End stars as Cher in different periods of her life: Millie O’Connell (Babe), Danielle Steers (Lady), and the Olivier Award-nominated Debbie Kurup (Star).
Three leads playing the lead is a neat device for a narrative where the focus is squarely on one person. It not only expresses literally how different Cher is at the different stages of her life, but also, as each of the Chers comment and advise the others, reveals her reflections and internal conflicts as she develops from a geeky, shy teenager to a global megastar.
Special mention must be made of the way in which Cher’s close relationships are portrayed, be it with her mother (Tori Scott), or her lovers, musician Greg Allman and aspiring actor Rob Camilletti (both played by Sam Ferriday) and of course Sonny Bono (at this performance played by understudy Guy Woolf). The combination of quality writing and highly skilled acting beautifully depicts the complexity of those relationships, which brings an authenticity and sensitivity to the piece overall. And, by the way, they can all hold a tune brilliantly.
Although the dark, minimalist set provides a contrast to the lighting show elements and glittery outfits worn by the main cast, it is rather odd, a gloomy and somewhat cavernous backdrop to the more intimate scenes in particular. The generally monochrome costumes and props of the ensemble cast do little to relieve this. And while the feminist angle to Cher’s story is one of its most interesting and distinctive features, the material highlighting it could have been more subtle.
Any such quibbles will be far from your mind however by the finale, when you’ll be on your feet, feeling moved by Cher’s story, uplifted by her absolute belters of songs, and exhilarated by great performances from a highly talented cast.