Miss Givings

Miss Givings

‘A year in the life of a martyred musical theatre wannabe Anita Boult.’

Anita’s just moved back home. Not to Mom and Dad’s, you understand, just out of New York and back to Peekskill – and it’s NOT an admission of defeat; just a strategy for recharging batteries and planning a new assault on Broadway.

Observe, then, as Anita seeks to effect her return to the bright lights, grappling with hostile agents, indifferent casting directors, doubting parents, demanding boyfriends and, worst of all, high school rivals still somehow hogging the local limelight.

Meantime, Anita will treat you to gems known and lesser known from such American songwriting legends as S. Barber & L. Bernstein. This show has “elements that remind us of Shirley Maclaine, Maureen Lipman and Barbara Streisand,” as quoted by one reviewer.

What people are saying…

“Overall this is a genuinely warming piece of musical theatre delivered with skill and panache by Bridge. It stays confident in its calmness and the hour glides by. Debbie Bridge carries off all the well-chosen songs. Without microphone, she’s raw, real live and spot on.

Nocturne was stupendous and where all elements of the show converged: powerful and poised command of a difficult song, sensitive and economic direction, sandwiched between some enjoyable and playful monologue and breaking down of the fourth wall.”Reviewed by Paul Levy, Fringe Review (4 stars)

“Miss Givings is every wide-eyed performer’s story – from the delight in exercising your talent, through the nerves and excitement of auditions, to the deflating self-doubt that accompanies not getting picked. The stinging realisation that your past victories have been modest coupled with the almost excruciating thrill of sharing your true self onstage culminates in a bittersweet denouement.

An adept storyteller, Bridge is likeable and ebullient, versatile and purposeful in bringing tragicomic Anita to life. If you’ve ever slept in your tap shoes, belted a Babs-Judy-Liza medley in the shower or were picked last for every sport, Miss Givings should take pride of place on your festival agenda; a perfectly pleasant way to spend an evening.” – Reviewed by Amy Holtz, Broadway Baby (4 stars)

Debbie Bridge doesn’t need to prove anything.  Her track record in opera and the West End are enough for anyone.

But still, she has enough time to put together an impressive list of songs from the Great American Songbook to delight tiny audiences. It has the feel of a labour of love because otherwise why such an accomplished performer would be prepared to stand up in front of no more than 20 people at Lovibonds and belt out Gershwin, Copland and Bernstein?

Nevertheless, she does and we are grateful. There are other singers making a living with a microphone these days who would kill for her ability in the lower range.

When she’s up in the soprano register we get the full benefit of a set of lungs probably able to power spacecraft. These songs come from some of the great American musicals including West Side Story when her There’s A Place For Us brought a lump to this reviewer’s throat.

And she can act, really act, not a token bit of speaking as a subsidiary to her singing. It was a hot early evening at Lovibonds and Debbie was dressed in a velvet skirt and various costume changes included coats and other uncomfortable attire. Not a word of complaint or comment was passed about the conditions.

Top professionalism from every quarter.”Reviewed by Mike Rowbottom, Henley Standard

Audience Feedback

“Everything – singing & acting were outstanding.”

“Fun way to link the really accessible and contrasting songs a real showcase!”
“It held together extremely well. It highlighted both acting and singing talents and was very enjoyable. The piano playing was also very much enjoyed, script was witty and fitted perfectly”
“Very clear singing, range of vocals, costumes. Very enjoyable, good range of songs and great script.”
“Excellent singing of fantastic songs and great acting”
“Really well put together”

“First class performance.  Refreshing to hear such an outstanding voice!”

Technical Requirement

Need soundboard or some facility to play a CD and plug sockets. We can provide our own technician, but this may not always be feasible, so may require one. Also, prefer venues which have lighting, but this isn’t a must. We prefer blackout, but it is a very flexible show, as it’s been created for small-scale touring in mind. A pianist can be hired for the show with or without keyboard, depending on what is possible and the budget.

Target Audience

13 to adult; urban arts eclectic, fun, fashion and friends & mature explorers – as outlined in the arts council document, ‘Arts Audiences: Insight’

Accessibility

The show works for any level of physical accessibility which the venue is able to provide. We do not have any support for the hearing or visually impaired.

Wraparound

Workshops can be on singing or acting. Content can be adapted, for example, different age groups, but core aims are: to encourage participation in performing arts and build self-esteem, confidence, leadership and teamwork.

Financial Deal

Please send through an email for further details and costs to hire this show. Click here! or check out the new website, here!