Sir Simon Russell Beale has returned to the stage at the Festival Theatre in Pitlochry to portray the legendary showman Liberace in the new play I'll Be Seeing You. Written by Martin Sherman and directed by Alan Cumming and Ben Occhipinti, the production explores the friction between different generations of gay men through the lens of a controversial musical icon.
Sir Simon Russell Beale’s stage return following a colon cancer diagnosis
The return of Sir Simon Russell Beale to the theatrical stage marks a significant moment for the esteemed classical actor. According to the report, the 65-year-old performer is appearing in this production just 12 months after receiving a shocking diagnosis of colon cancer. Despite this recent health battle, the actor reportedly appears "hale and even hearty" in his latest role.
Beale brings his signature subtlety to the role of Liberace,the flamboyant Las Vegas piano player known for his immense showmanship. This performance at the Festival Theatre represents a major comeback for an actor whose presence on stage is highly anticipated by the classical theater community.
Martin Sherman’s clash between a 'drug-fuelled' writer and Liberace
The narrative of I'll Be Seeing You, penned by playwright Martin Sherman, centers on a high-tension encounter between two vastly different personalities. As the source describes, the plot follows a "furious young gay writer" who has been commissioned to write a play about the life of Liberace.
The play creates a sharp character study by contrasting the two leads. The young writer is depicted as a "ripped, hairless, tattooed, drug-fuelled sex junkie," providing a visceral counterpoint to Liberace. This characterization serves to highlight the generational conflict between gay men, specifically focusing on how Liberace maintained a public persona that denied his homosexuality right up until his death in 1987.
Recreating Las Vegas glitz within the Festival Theatre
A central challenge for directors Alan Cumming and Ben Occhipinti is the visual scale of the production. While Liberace was synonymous with the massive budgets and high-octane spectacle of Las Vegas, the play at the Festival Theatre operates on a much more intimate scale. The report notes that the production "lacks Liberace's Las Vegas budget," which may impact how the showman's legendary aura is conveyed to the audience.
This limitation forces the production to rely more heavily on the performances of the cast rather than grand set pieces. The setting of the garret home, where Sherman has the character of Liberace make multiple entrances, serves as the primary backdrop for this psychological and generational confrontation.
Will the 'crass vulgarity' overshadow the play's wit?
The production has drawn attention for its polarizing tonal shifts, leaving some questions about its artistic balance.. While the report mentions that the play possesses a "sub-Wildean wit," it also flags instances of what it calls "crass vulgarity ." One specific scene involves the writer pleasuring himself at the back of the stage while Liberace performs a love song to his mother.
It remains to be seen whether these provocative moments successfully serve the play's themes of generational tension or if they merely act as shock value. Furthermore , because the source presents a critical perspective on the play's "neurotic attempt" to assess Liberace's legacy, it is unclear how other audiences might perceive the balance between Sherman's writing and the directors' execution.
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