Jessica Walker returns to 59E59 Theaters for an new play-with-songs centering on noted French actress and cabaret sensation, Suzy Solidor. More…
Paris: 1935. Suzy Solidor steps onto the tiny stage of her cramped nightclub, ready to wow the hippest crowd in town with her lesbian erotic songs. She is surrounded by her 225 portraits and high on success, both from her best-selling records and from her status as most painted woman in the world. Suzy Solidor may be the most famous woman you've never heard of.
“Sensual and eager to devour life with every pore in her body. Walker’s portrayal of Solidor makes this abundantly clear. The fine performances of the other members of the cast...not only support Walker but bring needed zest and spark. Walker does her best to convey the passion and determination of Solidor, and she succeeds mightily in the songs...The autobiographical monologues and the patter directed at the audience do not hold up as well as they feel random and disconnected." Full Review
“Part of 59E59's Brits Off-Broadway 2018 festival, Jessica Walker's ‘All I Want is One Night’ takes place in an odd combination of cabaret and antique shop. Theater B in the 59E59 Theaters complex has been done over as a café with moody lighting by Kate Ashton and extraordinary period perfect costumes (uncredited). It is 1980 in Haut de Cagnes and Suzy Solidor (Walker) in her dotage is about to be painted by Lindstrom (Alexandra Mathie who plays multiple characters…quite convincingly)." Full Review
"Offers compelling reason to become reacquainted with the cross-dressing French cabaret singer...The show fluidly moves through various nightclubs in Solidor’s long career, weaving onstage performances with dramatized lovers’ quarrels and biographical bits of information. Notably, the play does not shy away from the singer’s controversial stances...Walker’s Solidor is a fascinating creation...The show lasts just 65 minutes, but it is a rich, full evening." Full Review
"Walker is magnetic in her portrayal of Solidor. She is vivacious and yet tender, showcasing the complexity of Solidor as a performer, an openly bisexual lover, and a businesswoman in the fluctuating landscape of Jazz Age Paris through Nazi-occupied Vichy France...Not a series of events; it’s a series of emotions...It’s a wonderful celebration of a woman portrayed anew in over two hundred portraits, and now onstage once more." Full Review
"The thrill of Walker’s 'All I Want Is One Night' is that she creates as a performer and playwright a world in which danger and glamour and delusion and talent are mixed altogether with commerce...Walker sings the songs she translated from the French with beautiful simplicity. Her subtle performance of this fascinating woman saves this evening from any possible cliché and the supporting actors are equally as faceted and real." Full Review
“Uneasily stranded between nightclub act and full-out biographic drama. The dialogue scenes play like a highlight reel from a vintage film melodrama...Strains to maintain a steamy atmosphere of intrigue. But when the commanding Walker, with her silvery soprano, takes the stage, all is well...Has some attractively sexy and melancholy songs delivered by a singer who is a mistress of the form. The rest of it is the raw material for a play yet to be written.” Full Review
“A curious mixture of low camp, high drama, and cabaret that shines some perfumed wattage on one of the world’s once-illustrious, now-forgotten icons from the same nightclub world as Édith Piaf, Josephine Baker, and Mistinguett...Walker never achieves the sultry throatiness of the flamboyant Suzy, but she still dominates the show with ersatz artistry...Some of the flavor of free love Suzy Solidor was selling in that bygone cabaret era comes through again in this uneven but fascinating show.” Full Review
"If there is a touch of Édith Piaf in Solidor, there's even more of Marlene Dietrich in her...She does not seem right for the role that she has created. While she bears a resemblance to photos of Solidor, she is too soft in her delivery, too cautious with her interactions, and too sweet in her singing tone to be completely convincing...In the end, the potentially fascinating character of Suzy Solidor remains stubbornly out of reach." Full Review
"Ms. Walker certainly captures the intriguing beauty of the chanteuse and deftly delivers each of the eight musical numbers...This is all well and good but what is missing is the guttural passion, husky timbre and vulnerable vibrato that were trademarks of Solidor...The sixty-five-minute production is an interesting evening of entertainment that shines a glimmer of light on the fascinating chanteuse but does not qualify or succeed at being a bona fide piece of theater." Full Review
"Walker's voice is much closer to a soprano's than to the low, richly throbbing sound for which Solidor was known… Walker's singing and manner, while polished and expressive, don't come close to embodying the Gallic charm one expects…The loosely connected script, which intermingles biographical material within the context of a cabaret show, with action occurring among the tables as well as on the small stage, is too discombobulated to stir much deep interest." Full Review
"An interminable 65-minute bore...Obviously, Solidor led quite an interesting existence. It’s a pity that 'All I Want Is One Night' is such a drag...Solidor scarcely flickers to life. Painted in fragments by Walker in wordplay that alternately seems precious or stiff, this portrait of the artist is too impressionistic to be informative or satisfying theater. Worse than that, Walker’s portrayal does not connect with the woman she attempts to convey." Full Review
"You can see what drew the British performer and writer Jessica Walker to Solidor, whose artistry and wild life she honors in the delightful 'All I Want Is One Night'...What was novel about the show was Ms. Walker’s unabashed way of delivering torch ballads not just about loving women but about having sex with them...The numbers are so good, in fact, that you wish there were more than the eight...The evening does not shy from Solidor’s less savory side." Full Review
for a previous production "Walker is one to watch, in my opinion. A technically-accomplished and intelligent performer, she has written a play with snappy dialogue and good jokes, and has translated Solidor’s songs from French to English herself. The songs are pretty filthy, very funny, and at times very moving – mezzo-soprano Walker succeeds in pulling the heart and tenderness out when needed in order to tell the story. Perhaps my only criticism is that the story itself is a little flimsy." Full Review
for a previous production "Walker’s short, moving, bittersweet new play, atmospherically staged by Sarah Frankcom...offers a fresh portrayal, successfully rising above biographical details to explore the ambisexual star’s life-long obsession with self-image...She brings a lively sensuous sparkle to Solidar’s songs, performed in English for the first time, while recreating a gender-fluid performance milieu laced with fruity double-entendres." Full Review
for a previous production "The show’s real strength is in transporting its audience to the subterranean world of nightspots that were Solidor’s playground...Much of this transportative effect is down to Walker herself...The play’s biggest drawback is its songs – there aren’t enough of them...It doesn’t delve too deeply beneath the surface and there’s definitely scope for development, but as far as it goes, Walker’s bittersweet sojourn is an enjoyably immersive experience." Full Review
See it if you've seen Jessica Walker previously and enjoy her; you enjoy torch songs; you can get front row seats and interact with the star
Don't see it if you are offended by a presentation about a bi-sexual woman that involves graphic descriptions of lesbian sex
See it if you would like seeing a French chanteuse from the 1930s in a night club setting
Don't see it if if you might be offended by lesbian themes and/or if you are interested in something of a traditionally "show tune" vein
See it if If you like cabaret style pieces. You are interested in seeing works about lesbians
Don't see it if Songs and script with some very explicit description of lesbian sex upset you. Some themes in the show have been explored before
See it if interested in Suzy Solidor, risqué between-wars chansons, left bank lesbians. If you don't know her, this will not provide much insight
Don't see it if you're looking for drama, detail or much besides the atmosphere of a semi-seedy Parisian cabaret, which is skillfully evoked by set & singer
See it if You’re up for 65 of the longest minutes you’ll spend in a theatre. Great premise and set but unrealized characters adrift in this script.
Don't see it if You've no interest in 1920's Parisian nightlife, clever lesbian love songs or an unhappy if interesting chanteuse/amoureuse life story.
See it if you have an interest in the life of Suzy Solidar and want to hear some French cabaret songs (sung in English).
Don't see it if you want to be entertained. Only a bit over an hour, but it seemed much longer. She tried to interact with the audience, to little success.
See it if you enjoy following complex story line with a few playing many roles and crossing gender lines
Don't see it if you cannot follow multiple plots;dont ike lesbian references
See it if If you like one woman shows about romance and decadence of the Cabarets and art in 1930s Paris. Stage is set like an intimate Cabaret.
Don't see it if You don't like Cabaret singing and sexual references and lesbians
See it if The multiple erotic identities of Suzy Solidor, the famous Parisian cabaret singer and actress are brought to life by Jessica Walker
Don't see it if you are not interested in LGBT stories
See it if You want an unique & engaging story about artistry,love, aging & survival told in a cabaret format.
Don't see it if You prefer contemporary stories. You don't like cabaret seating. You're uncomfortable w/discussions of sexuality.
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