On Theatre

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Maria Friedman's (right) most poignant performance of 'Move On, the climactic duet from Sunday in the Park with George, came too late. A few days after the show closed, members of the cast became an impromptu choir at the conductor's wedding, singing Brahms and Bernstein. Towards the end of the ceremony, Friedman and Philip Quast sang 'Move On, at which point bride, groom and congregation dissolved in tears.

Nol Coward observed of Mrs Worthington's infamous daughter that

It's a loud voice, and though it's not exactly flat

She'll need a little more than that to earn a living wage.

Hardly a problem Friedman need worry about. Her singing has an emotional impact born out of her understanding that songs are scenes with parallel texts - music and lyrics.

She raised the roof at a Crusaid Sondheim gala with an astonishing, slow-burn performance of 'Broadway Baby. Appearing mouse-like out of the darkness, gawkily singing of her dreams of stardom, it was a remarkable physical and vocal portrayal of the struggle between ambition and terror. Gradually, her character grew in resolve until the final eight bars, when her confidence and hope burst through and her voice let rip.

Judging by the reviews for her three sold-out one-nighters, she's displaying a similar prowess at the Donmar Warehouse.

Maria Friedman - by special arrangement is back there until 11 June. Go and discover what singing's all about.

(Photograph omitted)

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