The plot is fairly straightforward: a superdiva in mid-nervous breakdown, on the eve of her big comeback tour, tries desperately to mend a deep, intense rift with her old costume designer, with whom things ended badly. They have a deep, occasionally supernatural conversation about the nature of forgiveness and reckoning, and it's all dressed up in some gorgeous outfits, spooky set pieces, and dramatic theatrical lighting. That's basically it. And yet.
Anne Hathaway is great as the brittle ultra-charismatic Beyonce/Gaga-esque cipher, but Michaela Cole as Sam, the wronged couturier whose connection to Mary is a lot deeper than merely being some dresser, is the axis around which everything in this film revolves. Their conversation and (eventual) resolution happens on Sam's terms, in her workshop, and the story can't resolve itself until she's satisfied. As Mary falls apart, Sam puts it together.
I can't wait to see this in the West End, or on Broadway. There's no question it would look amazing on a stage.
The plot is fairly straightforward: a superdiva in mid-nervous breakdown, on the eve of her big comeback tour, tries desperately to mend a deep, intense rift with her old costume designer, with whom things ended badly. They have a deep, occasionally supernatural conversation about the nature of forgiveness and reckoning, and it's all dressed up in some gorgeous outfits, spooky set pieces, and dramatic theatrical lighting. That's basically it. And yet.
Anne Hathaway is great as the brittle ultra-charismatic Beyonce/Gaga-esque cipher, but Michaela Cole as Sam, the wronged couturier whose connection to Mary is a lot deeper than merely being some dresser, is the axis around which everything in this film revolves. Their conversation and (eventual) resolution happens on Sam's terms, in her workshop, and the story can't resolve itself until she's satisfied. As Mary falls apart, Sam puts it together.
I can't wait to see this in the West End, or on Broadway. There's no question it would look amazing on a stage.
