★★
Written by Josh King, and performed by Kirsten Lewis, Adrienne: An American in Paris is a one-woman show that follows Adrienne, an eccentric bibliophile from New Jersey, as she mixes with the literary stars of the Jazz Age’s Lost Generation. From F. Scot Fitzgerald to T.S. Eliot, Adrienne has partied with them all—but even a star studded line-up of poets and flappers doesn’t stop this show being a quirky but albeit clunky tribute to the Jazz Age.
First of all, it must be stressed that this show is not a complete flop. Lewis is a competent performer who gets the audience on side almost instantly and engages with them sparingly throughout the show, bringing you into Adrienne’s narrative. However, it does feel fairly under-rehearsed. It often feels as if Lewis isn’t quite sure where to be on stage, often being misplaced. The venue is intimate, so it is vital that the space needs is utilised efficiently. Lewis can often be seen knocking into props which does leave you feeling on edge as an audience member.
Lines are fluffed a lot throughout the one-hour show too. There is either hesitation or just complete lack of execution. As a result, diction became an issue; it was often hard to decipher some of the dialogue. This again could be down to lack of rehearsal time and the intimacy of the venue.
However, the initial concept is interesting. Adrienne takes the audience through her story step-by-step, from arriving in Paris, to falling in love with an aspiring writer, subsequently becoming his muse and then losing her aspirations amongst her new star studded lifestyle. The stand out line which strings the show together is “What does heaven look like for you? For me it’s as simple as sitting in an arm chair, reading a book, whilst sipping a glass of wine”. The incorporation of French throughout is accurately used, enjoyable and adds to the context of the show
The show does successfully immerse you into the roaring twenties as well. It has some quirky dialogue and Lewis situates herself well within the 1920’s setting with her unique styling and pretty slick costume changes. A moment that sticks in my mind is Adrienne’s performance of a Charleston: it’s well danced and Lewis showcases some wonderful physical lines, lyricism and musicality—the show needs more of this.
There are also elements of the show (and plot) that feel rushed, sporadic and contrived. For instance, it attempts to follow the structure of a novel, having each section of the show labelled as a chapter. Lewis then explains what each part of the structure meant—this isn’t necessary and makes the narrative feel slightly robotic. The denouement to the show doesn’t quite land with the climax feeling more like the ending to the story—some re-jiggling is required there to make for a smoother plot execution.
Adrienne: An American in Paris is a show that is at times quirky and stylish. It has an interesting concept at its core with Lewis showing great promise in the lead role. However, the overall execution of the show, particularly when it comes to dialogue, diction and structuring, needs much more polishing and refining for it to become a standout piece of theatre.
Adrienne: An American in Paris will run at Pickle Studio at Greenside @ Riddles Court until 16 August as part of Edinburgh Fringe.
Words by Cory Gourley
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