Swimming At The Ritz is current enjoying its U.S. premiere at New Jersey Repertory Company for another two weeks. The play features absolutely fantastic performances by Judith Hawking (as Pamela) and Christopher Daftsios (as Pietro, her favorite valet at the Ritz) under wonderful direction by Suzanne Barabas (NJ Rep’s Artistic Director).
They say truth is always stranger than fiction and this play proves that theory once again. Pamela’s story is entirely based on the true story of a woman who became penniless when sued by her step children for squandering their inheritance (something like $115 million in nine years time). As the play begins, Pamela is spending her last few quiet hours in her hotel room at The Ritz before her items are taken away to be sold by an auction house.
“My friend Coco Chanel always said the best things in life are free… the next best are very, very expensive,” Pamela tells the audience — literally speaking to the audience. There is no fourth wall here. Audience members are an active part of her conversation, sometimes being spoken directly to or even thrown gifts as she recalls the men, the money, and the memorable moments of her life. “All we needed was to learn how to marry a rich man and give them babies — an heir and a spare,” she laughs.
The dialogue is fresh and often quite funny, but Hawking shows off excellent range during a couple of sad memories, often from war time when she would flirt with soldiers to acquire information for Winston Churchill. She relished having access to power — something that would steer her destiny as much as money would.
What makes Swimming At The Ritz so great is the addition of Pietro, her favorite valet. Daftsios is simply hilarious as her Italian sidekick and confidant, providing real-time illustrations to her stories. He plays each of the characters she mentions differently and to great comedic effect. The two make a perfect pair.
The play is a highly enjoyable tale about a character in history that was almost like a Forest Gump of the socialite world. If she didn’t exist someone would have had to create her. Kudos to Charles Leipart for recognizing the hilarity in her story. My only wish is that he reconsiders the surreal ending, which seems like an unnecessary break in the play’s realism. Pamela’s story is so grand, there’s no reason to add to it.
Photos by SuzAnne Barabas
Infusing a classical oratorio with blues, gospel, jazz and soul, this musical and visual journey investigates human experiences of time and memory alongside powerful physical forces that shape the universe. Our exploration emphasizes the significance of the ritual of gathering for live performance in an increasingly screen-focused world.
Featuring the students of the Lewis Center as the cast and crew, this production is the first non-professional performance of this important new work which premiered in 2022 in New York City to great critical acclaim.
Directed by visiting Iranian artist and director Nikoo Mamdoohi, with English to Latin translations by Greg Taubman, Princeton Class of 2006, the professional team includes music direction by Emma Sway, music supervision by Solon Snider Sway, set design by Afsoon Pajoufar, lighting design by Kelley Shih, sound design by Kay Richardson, costume design by Keating Debelak, choreography by Sariel Golomb, and stage management by Milan Eldridge, Princeton Class of 2020. Juniors Lota Alagbe and Peyton McLaughlin serves as dramaturgs.
Infusing a classical oratorio with blues, gospel, jazz and soul, this musical and visual journey investigates human experiences of time and memory alongside powerful physical forces that shape the universe. Our exploration emphasizes the significance of the ritual of gathering for live performance in an increasingly screen-focused world.
Featuring the students of the Lewis Center as the cast and crew, this production is the first non-professional performance of this important new work which premiered in 2022 in New York City to great critical acclaim.
Directed by visiting Iranian artist and director Nikoo Mamdoohi, with English to Latin translations by Greg Taubman, Princeton Class of 2006, the professional team includes music direction by Emma Sway, music supervision by Solon Snider Sway, set design by Afsoon Pajoufar, lighting design by Kelley Shih, sound design by Kay Richardson, costume design by Keating Debelak, choreography by Sariel Golomb, and stage management by Milan Eldridge, Princeton Class of 2020. Juniors Lota Alagbe and Peyton McLaughlin serves as dramaturgs.
