Breakfast at Tiffany’s

For a good deal of the first act I couldn’t stop thinking about Christopher Isherwood’s I am a Camera/Cabaret/Sally Bowles: the story, told by a young man (and a writer), of a young woman, outrageous, quirky and charismatic, who exploits and enchants everyone she meets. Replace New York with Berlin and you could almost accuse Truman Capote of (alleged) plagiarism.

Breakfast (trh.co.uk)

(trh.co.uk)

I am a camera

(likesuccess.com)

Everyone knows the film of course, if only for Audrey Hepburn. The play is based more on the novella, a slightly darker tale, and all the more interesting for it. Played on the open stage at the Haymarket Theatre and starring Pixie Lott, who I’d vaguely heard of before as a pop singer, you might expect a full-blown musical, in which case you’d be disappointed as she only sings two and a half songs, one of which – People will say we’re in love – comes, weirdly, from another show altogether (Oklahoma, in case you were wondering).

It’s well produced and very well acted, in particular by Pixie Lott. She has all the charm and charisma (and ditziness) for the character of Holly Golightly (wonderful name) and holds the stage with supreme confidence, so it is all the more surprising to see she has had so little acting training. She is well supported, especially by Victor McGuire as the smitten barman and Matt Barber as the frustrated would-be lover.

Breakfast Matt Barber Trixie Lott

Matt Barber & Trixie Lott (lovetheatre.com)

But I couldn’t help wondering why: why anyone would choose such a slight show as a vehicle for a girl who’s made her name as a singer. It makes for a pleasant enough couple of hours, the direction (Nikolai Foster) is snappy and the dialogue slick and funny. Pixie Lott has a lovely voice, though her delivery is rather more 2016 than 1940something. Why not give her a proper musical to shine in?

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