Hayes Theatre Co, August 20
IT’S little wonder so many former child stars go off piste spectacularly, particularly those who started very young. Right from the get-go they learned that to be a success they would have to know how to please. To please Mommy, who took her to all those dance lessons. To please Daddy, if he was around, who paid for those lessons. To please the judges of the talent shows, and the advertising people picking out the prettiest, most compliant kids to be in the commercial. To work really, really hard because they were very likely the family breadwinner, and not to screw that up by not pleasing.
If you’re a pleaser, perhaps you get taken advantage of. It’s hard to lose the habit of being the one who is the approval-seeker. It’s sad. Even if you have a bulging bank account to ease the pain.
In the case of Britney Jean Spears, for quite a while she didn’t even have control of the bank account. Her father did that when she was judged unfit to manage her affairs and to take care of her children. She’d pulled quite a few stunts, true, but perhaps they too were another aspect – a more adult one – of trying to please. The paparazzi sure liked what she did, and she obliged big time.
Out of Spears’s very public woes writer/director Dean Bryant and the glorious Christie Whelan Browne have fashioned a new (relatively; Britney Spears the Cabaret first saw the light in 2009) take on a very old tale: fame as nightmare. It’s the “be careful what you wish for” story.
Whelan Browne delivers her performance with laser precision, switching in a nano-second from dumb broad to sweet innocent without you seeing it coming. She makes you laugh at Britney’s naivety and then makes you cry. Well, I got a bit teary. People can be so very cruel, particularly when they wield the power. And the fans do. They get to decide who is in and who out; who is not longer adored; who is to be chased and who ignored.
Obviously there are worse things in the world than being an over-impulsive, undoubtedly under-educated, far too rich and silly young woman (or young man, guess who?), but they’re with us, and they say something about us as well as themselves.
Assisted superbly by music director Matthew Frank at the piano, Whelan Browne interprets Spears’s songs with ferocious energy (she’s a great singer – no Auto-Tune required here!) and point. Circus, Piece of Me, … Baby One More Time, I’m a Slave 4 U, Womanizer, Oops! … I Did It Again, Toxic … well, you can see how songs with such titles might fit into the depiction of a troubled life. Frank’s arrangements do the rest by ripping them out of the pop realm and making them sound very unsettling indeed. Brilliant.
Britney Spears the Cabaret ends September 7.