A Mirrored Monet Review: Painter Reflects on His Past in a Musical with Heart and Humour
At the Charing Cross theatre in London, Carmel Owen's ambitious musical, A Mirrored Monet, delves into the life of the renowned impressionist painter Claude Monet, offering a poignant exploration of his regrets and artistic journey. As the title suggests, the production is rich with reflections, mirroring Monet's own fascination with light and memory.
Plot and Themes: A House of Mirrors
Set in 1916, the ageing Monet, portrayed by Jeff Shankley, grapples with cataracts while attempting to complete his iconic work, The Water Lilies. This struggle prompts a retreat into memories of his early career, where his younger self, played by Dean John-Wilson, is depicted as single-minded and driven to change art forever. However, looking back, Monet confronts the personal costs of his ambition, particularly his mistreatment of his first wife, Camille, brought to life by Brooke Bazarian, who served as his muse and mother of his children.
For a figure often celebrated for his success, this alternative perspective is refreshing. The musical also reflects on the struggles of Monet's peers, the artistic establishment's dismissal of impressionism, and the intricate relationships between art, war, and women. With so many reflections, Owen's book at times resembles a house of mirrors—enticing yet occasionally distracting with its split focus.
Production Strengths: Visual and Vocal Excellence
Despite narrative complexities, the production boasts significant strengths. Libby Todd's set design is a standout, featuring a floor-to-ceiling jumble of empty canvases that transform with huge impressionist paintings, vivid washes of coloured light, and animated backdrops rendered in flickering brushstrokes. This immersive environment invites audiences to step inside an artistic movement that prioritised feeling over realism.
Director Christian Durham leads an accomplished cast. Jeff Shankley delivers moving introspection, complemented by a brilliant turn as a sniffy Paris salon clerk. Brooke Bazarian and Dean John-Wilson provide standout singing performances amidst a stage full of mighty voices. However, the connection between Monet and Camille is somewhat outshone by the dynamic interactions between young Monet and his fellow impressionist upstarts, Bazille, played by a lovable Ritesh Manugula, and Renoir, portrayed by a breezy Sam Peggs. Their moments together fizz with the impatience of young rebellion, offering gentle humour and genuine devotion that strengthen the show.
Musical Elements and Overall Impact
An excellent eight-piece orchestra adeptly handles Carmel Owen's songs, which guide the story through its tonal beats—lush strings for young love and jaunty woodwind for bantering artists. While these compositions are fitting, none rise to the level of being memorable enough to hum all the way home, leaving room for improvement in musical distinction.
Much like Monet's own ambition, this musical sometimes pays a price for its expansive scope, but it ultimately lands in a place of beauty and deep feeling. A Mirrored Monet runs at the Charing Cross theatre in London until 9 May, offering a reflective and heartfelt tribute to one of art's most iconic figures.
