LOST Theatre May 30 – June 18. Reviewed by Claire Roderick
Opening on what would have been Marilyn Monroe’s 90th birthday, Norma Jeane the Musical takes a look at the demons that haunted her.
Opening with Marilyn Monroe being institutionalised after her split from Arthur Miller and critical mauling of her latest film, a bedraggled Norma Jeane (Sarah Rose Denton) sits forlornly on the bed as Marilyn Monroe (Joanne Clifton) enters in full song and dance mode, with accompanying troupe of male dancers. The difference between Norma Jeane and her polished, glamourous alter ego provides most of the comedy in the show, with Marilyn’s image conscious posturing and posing in iconic outfits in stark contrast to Norma Jeane’s slip wearing mess. Denton is impressive as Norma Jeane, managing to portray the unravelling mind without going over the top. Over the top is a perfect description for Clifton’s performance as Marilyn, and it is joyous. She has great comic timing, uses all the familiar mannerisms and brings her dance training into every gesture.
Throughout the show Marilyn is visited by ghosts and voices from her past, the most intimidating and brutally honest being Uncle Marion (Joseph Bader – he could read the phone book and make it enthralling with that voice). The abandonments, religious upbringing and first marriage are explored, along with the father fixation, and Norma is constantly reminded of her bad blood and the madness that runs in her family. Not a happy story, or ending, but the show is not all doom and gloom, providing lots of bittersweet laughs. Erica Martin is wonderful as Grace, Monroe’s religious mother, veering from gentle supportive words to vehement biblical condemnation of Hollywood in the blink of an eye, and Ruth Betteridge as young Norma Jeane (yes, there are three of her on stage by the end) is sweet and flirtatious, with a delightful soaring voice.
The structure of the show feels like a review, with each new voice having a song and cheesy choreography to show an issue from Marilyn’s early life. The use of multiple composers adds to this effect, with no coherent style running through the show. This may be intentional to emphasise the fracturing of Monroe’s mind and character, but it does make you wonder what the show could have been if Anton Mullan had written the whole thing – all the best songs were his, including the fantastic finale. The sound balance needs some tinkering, with some vocals being drowned out by the music and the dancers’ footsteps in certain numbers.
Norma Jeane the Musical takes a look at the darker side of Monroe’s life with a light affectionate touch and is full of energy and great performances. Well worth a look.