I also concur with Ms. Davis that the pacing of the show was slow. For me this lethargy led to making the experience something much less than the “charged” and “dynamic” one which it appears to have been for Ms. Davis.

Given Ms. Davis’s observation that the actors could not get into their roles, I am not
sure how she then arrives at her determination that their performances were “very good.” Perhaps, I am missing something?

I might share Ms. Davis’s opinion that Mary Ayala-Bush (Maria) was the best actor on the stage were it not for her being cast in an unfortunate stereotype of a Latino maid. Given that there were only two dozen people in the audience of a 450 seat theater, I think it would behoove Dominion Stage to provide free tickets to members of the nearby Latino community to see whether or not they share my perception.

While personally I have a weak spot for British accents, I found that of Jeff Murray (St. Clair) to be overdone to the point of sounding fake. Again, I found his character to be something of a stereotype in the nature of an all too common English butler.

My opinion coincides with the assessment by Ms. Davis that the soloist played by Harlie Sponaugle (Mrs. Verrinder-Gedge) was a breath of fresh air. I only wish that the other actors had given as much life to the show through better preparation for and greater attention to the roles.

With respect to the performance of the lead actress, Barbara Porter (Florence Foster Jenkins), Ms. Davis first points out that only one line was well delivered and then states that Porter’s acting made this a “very good” show. Forgive my confusion.

Unlike Ms. Davis, I do not think that the test of a good show is whether it makes one “sing opera” on the drive home or “laugh out loud” on a Metro ride.

After the intermission, I was surprised to see the Director, Patrick Doneghy, sitting in the middle of the theater where he was laughing and clapping in a vain attempt to get others to do the same! At the very least this behavior was inappropriate; at worst, it was unprofessional.

Based upon the same story was last season’s production of “Souvenir” at the Studio Theater. In that show, one learned a great deal not only about how Florence Foster Jenkins marched to the beat of her own drummer, but also about the journey of a naive, innocent Cosme McMoon who was played in this production by a lifeless Bradley Lyon.

Given all of the flaws in this production which have been pointed out by Ms. Davis, I am mystified as to how she can conclude her review by saying that “Glorious” is a “must-see” show? On the contrary, I am sorry to say that this is a “must miss” show — even if the “miss” is a “Ms.” Florence Foster Jenkins.