In the rehearsal space with the creative team for A MIRRORED MONET

Set in Paris during the Belle Époque, the man widely considered the father of the Impressionist movement Claude Monet, has hit a mental block while trying to complete his Water Lilies commission at Giverny. As he struggles with failing eyesight, memories of his early life begin to taunt him. Through flashbacks he finds himself revisiting those key events, encounters and decisions which shaped his future and changed the course of art forever.

Created by New York based writer, composer and lyricist Carmel Owen, the work has been a labour of love and clearly Ms Owen harbours great admiration for the man and the differences he presents over so many artists of the period with their often excessively Bohemian lifestyles. She speaks reverentially about the love he had for his muse and first wife Camille Doncieux who famously appears in fifty paintings including those instantly recognisable images where she walks through fields of poppies carrying a parasol.

I asked the writer if she was anticipating any comparisons between her musical and Sondheim’s Sunday in the Park With George given that both focus on a central figure of an artist and the interactions they experienced with their respective muses. She was quick to point out the distinction that her musical is about the man, whereas in her opinion, Sondheim’s was fundamentally about the painting (George Seurat’s A Sunday Afternoon on the Island of La Grande Jatte from the mid-1880s). Highlighting this difference may perhaps seem tenuous, but if true should present a potentially far less abstract end result with the emphasis on human connection, rather than disconnection. Brooke Bazarian who hails from Portland, Maine and is appearing in her first UK production, has been cast in the role of Camille. She believes that both women (Camille and Dot), resonate because during the period in which they lived, it was expected that they should have to perform multiple roles — muse, lover, wife, mother figure and nursemaid to the men in their lives. I am reliably informed that whilst the show won’t gloss over this element, nor will it shy away from presenting Camille as a strong woman but contextualised by being firmly rooted in the realities of the societal expectations and mores of the time in which she lived.

Full size rehearsal space stage mock-up.

Sharing the role of the older and younger Monet are Jeff Shankley and Dean John-Wilson. At 78, Shankley who made a career out of originating roles in Andrew Lloyd-Webber musicals freely admits his pipes aren’t quite what they used to be, but playing the part of Monet at around the same age as the great man was in 1916, ensures he is cut a little slack and can lean into the character elements of the role when singing of the artist’s frustrations in old age. John-Wilson last impressed this reviewer back in September of 2023 when his jittery portrayal of L in Death Note was notable for both a compelling on-stage presence and impressive pop vocals. He’ll undoubtedly deploy both to good effect in this production, particularly when delivering the showstopper “In The Light” during which he realises the compulsion to break with tradition and paint outdoors en plain air. Sam Peggs and Ritesh Manugula will appear as fellow artists Renoir and Bazille who conspire with Monet in their early years to sweep away the stuffy salon based establishment practises and develop their own artistic movement. Both performers were quick to point to the very positive, relaxed and collaborative nature of the rehearsal period, which has enabled all cast members to find their characters and motivations in a strongly supportive and professional environment.

Directed by Christian Durham with musical direction by Michael Webborn (who’ll be in charge of the 8-piece band once the show is up and running), the rehearsal space was lively and good humoured during my visit. As you'd expect, it has been fitted with a full-scale mock-up of the stage — in this instance, complete with a revolve to aid the flow of scenes. The space was also adorned either side of the playing area with reference images used by Libby Todd in her creation of both the set and costumes. As the team near their final preparations before decanting into the Charing Cross space for final blocking and rehearsals, I wish them well and look forward to reviewing the full show on press night in a little under three weeks.

The creative team in mid-rehearsal mode.