Glorious! The True Story of Florence Foster Jenkins the Worst Singer in the World

Glorious! The Foster Florence Jenkins Story is an eccentric and charming play that delves into the life of Florence Foster Jenkins, a socialite and aspiring opera singer whose unrelenting passion for music was perhaps matched only by her lack of talent. The play, penned by Peter Quilter, offers audiences a glimpse into the world of a woman who, against all odds, dared to dream and pursue her passion with unwavering determination. 

For their 2025 spring show, Ponteland Repertory Society took on the challenge that is Glorious! which despite its small cast, requires nothing short of American and classic British accents, a Spanish speaking actor, a confident and very capable singer, convincing period scenery, musical and technical effects and a well-rehearsed and strong cast. This was my first experience with PRS and of this play and I was a very intrigued customer!

Glorious! thrives on its rich characterisations and the remarkable performances of its cast which Ponteland delivered at every opportunity.

The role of Cosmé McMoon as Jenkin’s long-suffering pianist and confidant was played by Kieran Murray. A very endearing character, Cosmé provides a contrasting perspective to Jenkin’s delusions of grandeur and the narrative through which the audience understand Florence's eccentricities and ultimately, her appeal. Keiran’s performance delivered a lovely softness and a tongue in cheek whit that attracted the audience to him. A range of emotions, good comedic timing and his subtle nuances which revealed his characters internal conflicts were all executed well by Kieran. This great performance throughout made his final monologue at the end of the play even more poignant - Well done Kieran.

Playing Jenkins’ lover and companion, St Clair Bayfield was Mike Giblin. As large and expressive as Jenkins herself, the character of St Clair demands an actor with presence, confidence and great comedic timing which Mike provided in abundance. Liking his performance to Rik Mayall’s Lord Flasheart from Blackadder, Mike never failed to make me laugh with his swaggering and flamboyant demeanour leading me to wish Hugh Grant had taken notes from Mike before he took to the role in the 2016 film! I also appreciated the softer moments delivered by Mike such as the slow dance between him and Jenkins. Really wonderful performance Mike.

A left field performance and great casting choice, Peter Errington played Florence’s Spanish maid Maria. Speaking solely in Spanish alone is to be applauded but the ability to keep a straight face and deliver a brutal yet hilarious performance is a great achievement. Apprehensive of her next move and unsure on what was going to happen when she was on stage made audiences laugh before Maria even spoke. Great casting choice and another very funny performance, congratulations Peter.

Suzie Neve played Mrs Verrinder-Gedge, a strong, opinionated woman who represents "music purists" and is the voice of reason and scepticism towards Jenkins' “talent”. Suzie joined and sat amongst the audience at the start of the performance which added an interesting air of mystery from the start. When she finally interrupted proceedings in act 2 and broke the 4th wall, Suzie delivered a strong performance in becoming Jenkins nemesis. I loved Suzie’s costume and her sternly disapproving portrayal. Well, Done Suzie.

Playing Jenkins gloriously potty friend Dorothy was Caroline Reynolds whose performance only got better and better. A warm and eccentric character who acts as Jenkins ‘yes man’, Dorothy is utterly batty and without reason. Special mentions to her hats and her dog, Caroline really brought this character to life, especially during the funeral scene (pardon the pun) which Caroline was wonderful in. Loved your performance, Caroline!

Last and by no means least, Claire Long took on the title role of Florence Foster Jenkins herself. The character's unwavering belief in her talent and her unyielding optimism serve as the backbone of the play, making her both endearing and inspiring and I must say Claire is the best worst singer I’ve ever heard! Claire’s performance was consistent throughout and was a pleasure to watch. She collaborated well with all her cast having unique and special relationships with each and executing her ‘Florence’ singing perfectly. I couldn’t not laugh when she sang (as Florence I feel the need to keep adding) and felt genuine emotion at the end of the play hearing this legends life end story.

I know I’ve enjoyed something if it has made me want to go and explore a subject further and PRS and their cast of Glorious have done that!

Lighting, sound, set and costumes all contributed well to the 1940’s theme and feel of this production. The small details of a purple curtain added a touch of luxury to the set and the multitude of flowers and plants to the wealth and feel of the surroundings.

The amount of set and props was spot on for this performance, but long blackouts and scene changes un-immersed the audience and may be better replaced by transitions where possible or by using appropriately dressed stagehands as if they were a character in the play. The use of modern-day emoji on the applause/boo/hiss signs were a small yet apparent distraction in a 1940’s period production and again the stagehand holding the sign could have been dressed as a theatre attendant to keep the audience immersed in the production and the time period. Some small yet impactful considerations for future productions.

Overall, my first visit to Ponteland Rep was charming. Lovely front of house staff, a great production and talented players. The message of the play I took away with me was one of unwavering courage and boundless joy of doing something you love – something we in amateur theatre can all relate too. Congratulations Ponteland Repertory Society on a great production and hope to see you soon!

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