**** (4 stars)
Four cousins are at their grandfather’s funeral, squabbling over a suitcase which has been left them by a distant relative. One girl is convinced she is entitled to all its contents: another says their aunt said it should be put in the attic. The first girl protests – the suitcase came from Great-Aunt Sadie, who had an exciting and exotic life: at least let us find out who she was before we throw everything out…
And so we discover the secret life of Florence Waren, who led a thrilling and danger-filled life in 1940s Europe. Born into a Jewish family, Sadie Riesler danced ballet almost as soon as she could walk: her ambition was to dance with the Ballets Russe. She had a job dancing at Paris’s exotic Bar Tabarin, but travelled to London to audition. After the audition, she returned to Paris to find life had become infinitely more complicated – the Germans had invaded France, and life was becoming increasingly difficult for Jews. Sadie was helped to hide in plain sight: given a new name – Florence – new identity papers, and a new job, in a ballroom double act with Frederic.
The two became very famous and much sought-after, and very popular with the Germans: thus they were able to move around freely and ignore curfews. Sadie/ Florence was recruited into the French Résistance and, alongside such stars as Edith Piaf and Josephine Baker [both appeared on stage at different points, doing brilliant lip synching to old recordings], was able to carry messages, deliver equipment, and help Jewish ‘packages’ reach freedom in Britain.
Her story is cleverly interwoven with the present-day relatives’ commenting on and at times narrating her story with the assistance of google and letters Sadie wrote to her father. The Young Pleasance Company rise admirably to the challenge of rapid set, costume, and character changes [I particularly appreciated the fan dance screening Sadie/ Florence’s on-stage costume change into her ball-gown]. The dancing is pretty good – some very enthusiastic can-can-ing, and a very passable ballroom act with some good lifts – though we Strictly addicts find it hard not to watch over-critically…
The script made good attempts to fill us in on the historical background without being too ‘teacher-y’, though I do wonder about some of the historical accuracy. Were the French, while riding on public transport, so much more vocal in their criticism than the Brits? Or was this simply how they were before the German invasion? I also found the Resistance group rather too obvious in all their doings – looking around shiftily to see whether they were unobserved would be exactly what would draw attention… But the dilemmas facing people, the terrors they felt, and the decisions they made at crisis points were clearly shown. Some people could be heroes: others, when their lives were in danger, could not….
The piece ended with a slightly awkward attempt to discuss whether hiding one’s identity was courageous or cowardly – why did Florence not revert to her original name, but retain her assumed identity until her death in America, many years later. One cousin revealed that she’d dropped out of uni because of anti-Semitic graffiti on her door. When this was denounced as hate crime, she commented ‘yes, but the authorities just don’t care’… Is this fact, or is it opinion?
Showgirls and Spies is cracking entertainment. I’m really glad to have discovered Florence’s amazing life, and greatly enjoyed a nostalgic look at both the glitz and glamour of showbiz life and the courage and at times tragedies they covered up.
This is a very good show which the audience really appreciated. It’s only on till 13th, so don’t waste time – get your ticket today!
Showgirls and Spies, Pleasance Dome, King Dome, (Venue 23) for info go to https://tickets.edfringe.com/whats-on/showgirls-and-spies
ScotsGay Arts 