Dyad Productions’ flying visit to The Spring with Elton Townsend-Jones’ Edinburgh Fringe-storming play went down a storm.
The research that went into the script was impeccable; nothing made it into the text that wasn’t verified by two independent sources – doing away with much of the rumour of Marilyn’s life. I certainly learned a thing or two about Monroe the woman.
Set in Monroe’s bedroom on the night of 5 August 1962, she tells us her story via a searingly honest script. And the honesty of the script is matched by the undoubted honesty of Lizzie Wort’s performance. A monologue of an hour-and-a-half is a challenge for any performer and Wort certainly rises to that challenge.
This is, cleverly, not an impersonation, but gives us a suggestion of Monroe. While, mostly, the voice works wonderfully, the accent fails on several points. Wort might also be accused of bigging-up the part; she’s over-fond of the grand theatrical gesture. Giving Marilyn a little silence, variation in pace and stillness would benefit the performance.