Review: Glorious

Review: Glorious

Hope Mill Theatre 06-03-25 by Jamie Griffiths

Glorious isn’t a musical — far from it! In fact, heaven forbid anyone attempts a cast recording. But what it is, is a celebration of music, passion, and a woman who sang like no one was listening (even though, unfortunately for them, they were). This show contains the essence of joyous musical theatre and it’s a heartfelt triumph.

Directed with a delicate yet confident touch by Kirk Jameson, Glorious tells the true story of Florence Foster Jenkins, a woman affectionately dubbed the ‘worst singer in the world.’ While the subject matter may suggest an evening of ear-splitting vocals and theatrical absurdity (which, to be fair, it delivers in the best possible way), this production is also deeply heartwarming. The faithful and colourful set designs transport us straight to the 1940s, complemented by gorgeous period costumes that get even more extravagant as the show progresses. Thoughtful sound design subtly enhances the experience, making it clear that every detail has been carefully considered.

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Then there’s Wendi Peters. Loud, brash, and utterly relentless, her performance is a masterclass in controlled chaos. This could so easily have been a one-note role—pardon the pun—but Peters brings layers of comedy, vulnerability, and boundless energy. At times, she is the very image of Patricia Routledge’s Hyacinth Bucket, but this is done with relish and makes the characterisation of this (deluded?) chanteuse more immediate to grasp. The brilliance of her performance lies in its precision; she is so musically adept that she knows exactly how to be off-key at all the right moments. It’s the kind of comedic genius reminiscent of Les Dawson’s piano playing—so wrong that it’s actually perfectly right. Each disastrous musical number becomes something to look forward to, as Peters mines every single note (or lack thereof) for comedic gold.

But she’s not alone in making this production shine. Charlie Hiscock is outstanding as Cosme, Florence’s devoted pianist. His playing is so effortlessly good that you almost take it for granted, but his timing—both comedic and musical—is impeccable. His implied homosexuality is frequently the subject of jokes, and while they are funny at times, this aspect of the play is never explored in depth. As a result, the implications can feel repetitive, leaving a missed opportunity for a more nuanced character development.

And let’s not forget the wonderfully versatile Anita Booth. Effortlessly switching between a sharp-tongued maid, a trusted confidante, and a villainous elderly critic, she breathes life into each role with nuance and flair. She’s the perfect comedic counterbalance, adding just the right amount of levity and bite.

The journey to the finale at Carnegie Hall happens at such a pace (no one will be clockwatching in this performance) that some of the drama is inevitably lost. You don’t quite feel the risk that was experienced in the real-life story. Instead, this retelling presents a neater, fairytale ending—but what an ending! I was living for the final performance. The costumes, the energy, and that last scene caught me by surprise with how touching it was.

Hope Mill Theatre, one of the UK’s most intimate and versatile venues, proves to be the ideal setting for this production. The space is used brilliantly to transport us back in time, making us feel like we’re right there in the room with Florence, Cosme, and their eccentric entourage.

Glorious is exactly that—gloriously funny, gloriously touching, and gloriously off-key. If you’re after a night of laughter, charm, and musical mayhem, this is the show for you. Just don’t expect to leave with any singing tips!

Catch Glorious at Hope Mill Theatre until 30th March. Get tickets HERE