Non, elle ne regrette rien

Piaf:
In Jamie Lloyd’s revival of this thirty-year-old play, scenes from Piaf’s humble beginnings, decadent career and subsequent decay fly by. The formidable supporting cast (notably Kingsley (Dietrich / assistant)) mostly play several characters and for a while it all seems somewhat of a blur. But perhaps this is how it was for Piaf herself as her career descended into drug use and tantrums. The clarity comes in the exquisite musical numbers by Roger, who seems to channel Piaf and adds her own emotional performance that is heartbreaking even if the French lyrics are not all understood. The Donmar design is sparce with trademark brick wall, but Austen’s lighting creates an absorbing illusion from street to cabaret and to boxing-ring. The play is imperfect and at times the direction and double-casting make it hard to follow what’s going on, but the performance and overall effect are enthralling and devastating.