Godfrey Johnson
Tackling another of his muses with his latest one-man revue, The Shadow of Brel, Godfrey Johnson once more replicates the success he enjoyed with Flirting with Coward. Again, accompanying himself on piano, he summons the spirit of the great artist and makes it his own.
Apart from the costume, Brel’s signature white shirt and black necktie, there is no attempt at mimicry. The translations from French are those approved by Brel himself. But the phrasing is all Johnson; where Brel was impassionedly angst-ridden and melodramatic, working himself to frenzy, Johnson can give as successful a take on the song, with chilling detachment. His fresh arrangement of Au suivant (Next) is something inspired.
Don’t get the impression that Johnson is all calm and collected, on the contrary, his Valse a mille temps (translated as ‘Carroussel’) is a centrifuge of emotion that pins you to your seat.
Opening with Amsterdam and closing with Songs for old lovers, this is a well-balanced selection that includes Brel’s best-known works (Mathilde, Jacky, Ne Me Quitte Pas), with a couple of lesser know songs, such as Funeral Tango.
Director/producer Sanjin Muftić has ensured a quality production; Jon Keevy’s lighting does wonders with a handful of lanterns; subtly enhancing the mood, turning black drape into purple velvet.
Tabula Rasa is a new and eccentric venue; a laundry by day, an attic theatre at night. One feels very off-off-off Broadway here, and that is part of its great charm.
