22 October 2015 (released)
27 October 2015
While not forgotten Kathy Kirby is unlikely ever to be held in the same timeless esteem as the likes of Gracie Fields, Dusty Springfield and now sadly Cilla Black. The reasons are complex and Tom O’Brien’s Icon examines some of these issues as it concentrates on the later years of Ms Kirby’s career as she reflects and comes to terms with her status.
Before that is I Play For Me. A play by David Cantor in which an assured, possibly arrogant, guitarist Elliot Figueroa (Eddie Mann) aims for the stars. Told in flashback aboard a ferry to France, his career blighted by drugs, he meets Bill-Boy (Harry McLeod) a man who is ‘special’ and perceptive where they strike up an odd acquaintance. We see Figueroas’s initial audition, a brief meeting with Kathy Kirby and a longer exchange with her manager Ambrose. It’s a somewhat clichéd tale of an artist’s near misses and problems with drugs, fall and eventual recovery. However, it’s the scenes on the boat between Elliot and Billy-Boy that are the most enjoyable, as they banter about the past and look to the future. Solid performances all round but McLeod does steals the scenes he’s in.
Icon is also told in flashback but in more complex way with a young Kathy (Maggie Lynne) performing most of the songs while the older Kathy (Tina Jones) reminisces as she battles, mental illness, booze, pills and money problems. Opening with the sounds of the 1965 Eurovision Song Contest and her star in ascendance the play soon takes a different turn. Squabbling in the 80’s with her manager (Lloyd Morris) about money and the venues she’s reduced to perform in, reluctant to admit that she’s no longer a major draw.
But it is her relationship with Bert Ambrose (Jeremy Logan) which is the core of the play: a love/hate relationship with a man much older than her. It brings her success but at a literal cost as when he dies, she finds out he’s robbed her of her money, leaving her virtually penniless.
The sparring between Ambrose and Kathy is central and bizarre as for a good portion of the play, he’s in a coffin. Presumably a manifestation of Kathy’s illness the confessions, anger and hate spill out, and yet the love between them is palpable brought out by sensitive performances from Logan and Ms Jones.
Because of the focus of the play Maggie Lynn does take a back seat for much of it though she sparkles when singing and to the fore. Tina Jones only singing the final number, eventually sitting down in her armchair facing the audience, now accepting and content with her lot. It’s a poignant ending.
The bare bones production puts all the weight on the actors and they don’t falter. Mustn’t forget the musicians who are squashed up against the wall and couldn’t have been at all comfortable.
Both plays run until 8 November.