12 – 17 February

A troubled personal biography mixed with the social history of America in the 50’s and 60s and the progress of an angry activist looking for racial justice and equality is a heady mix.

Apphia Campbell has cleverly avoided the, ‘this happened then that happened’ approach to stage biography and has woven a sustained emotional journey that encompasses in one broad armful a narrow Christian upbringing (jazz being ‘the devil’s music’) and a growing social and political awareness of racial injustice. Inevitably some chronology is involved, but here it is cleverly linked to Simone’s emotional journey as are some of the songs most closely associated with her. On a bare set with just a table and bed the play is delivered as a reminiscence to her absent father who is represented by a framed photograph. We move through the significant emotional moments in her life; starting with an early jolt from a segregationist America when her parents were asked to sit at the back of the auditorium where she was about to give a classical piano recital. Then, through early love and domestic abuse the theme of injustice unfolds as a constant thread, finding its nadir in the assassination of Martin Luther King.

The sensitivity of, I Loves You, Porgy, the poise with which she delivers, I Put A Spell On You and the controlled anger and power of Simone’s protest songs would, by themselves, mark Campbell out as a cabaret singer of distinctive appeal and range. Taken together with a notable acting talent and sophisticated writing technique we can say she is the complete performer. It’s fair to point out that this show has been doing the international rounds for some ten years, including a spell in The West End, but the fact that it remains as fresh and emotionally charged after some considerable time is testament to her technique and commitment to the project. Anyone who thought Simone was merely a singer of stylish jazz songs and advertising jingles had better think again.

Some of the songs we know intimately and I certainly had the feeling that the show was winding up to the Newley/Bricusse song Feelin Good, and the brass and piano intervention that comes like an emotional punch following the sweetly voiced introduction. The Simone version is one of grown-up optimism and is a suitable spine tingling conclusion and climax to a well crafted and brilliantly executed show.

It would be difficult to find a better one-woman show than this.

★★★★★  Graham Wyles   13 February 2024

Photo credit: Geraint Lewis