Flowers for Mrs Harris: A Story of Transformation

A musical adaptation of Paul Gallico’s novel Mrs. ‘Arris Goes to Paris, Flowers for Mrs Harris tells the story of Ada Harris, a charwoman living in post-World War II London who embarks on a journey to acquire a Dior dress. The score and lyrics were written by Richard Taylor, with Rachel Wagstaff serving as book writer. The musical was first staged at Sheffield Theatres in 2016 and after some development, at Chichester Festival Theatre in 2018[1]. It is fundamentally a story of transformation, both in regard to Ada herself and those around her. The community’s confidant and a reliable worker to her London clients, Ada touches the lives of those she comes across and changes them irrevocably. Her journey begins with the sight of a dress.

Evidently, the most visually prevalent of transformation comes in the form of the Christian Dior dress. In undertaking her best friend Violet’s shift for her client Lady Dant, Ada’s life gains a new direction when she sees the dress. The importance of this moment has been discussed by director of the original Sheffield and Chichester productions, Daniel Evans. In a promotional video, he noted that, ‘Her discovery of the dress reminds me of my discovery of the theatre and it sort of takes me back to being a child again and realising that theatre could…show you another world and help you deal with the world that you then return to’[2]. In the Chichester staging, we never witness Ada seeing this dress as the garment itself does not appear on stage. Whilst it may be interpreted that this is the very same design which she later attains, Lady Dant’s description that, ‘Within it are all the colours and hews and lights of the rainbow’[3], suggests a different colour to the red gown Ada ultimately purchases. As such, it is evidently not the dress which is significant in Ada’s journey, but what the dress signifies. Indeed, Ada goes on to suggest a more emotional transformation is in store. She states that the gown, ‘Seems made to make you feel a different way’[4], recognising that owning a dress such as this will not impact her life in a tangible way, but instead has tapped into something she never knew she was missing. This idea is clarified later by Ada’s argument with Violet, during which she explains that it will be, ‘Something to come home to’[5], highlighting the loneliness she feels following the death of her late husband. As such, the dress is a catalyst for Ada transformation as it enables her to recognise a longing within herself. This new found ambition leads her to Paris.

The physical transformation of Ada’s universe reflects the growth of her relationships. Predominantly, each act is set in London or Paris, with Ada returning to London towards the show’s climax. In past productions, many of the cast have portrayed their counterparts in each city. This approach to casting makes the introduces Brechtian elements to the piece. Casting the same actor in multiple roles evokes the uncanny concept of the doppelgänger, as it highlights the similarities between the inhabitants of London and Paris. For instance, Bob and André fit the pining lover character type, each smitten with Pamela and Natasha, respectively. Bob laments, ‘She’d look right through me…I couldn’t do it to me-self, Mrs Harris, I’m a boring accountant’[6]. Ada’s push to ‘Just talk to her’[7] evidently contributes to their meeting. Meanwhile, in Paris, Ada skips her planned meal with André and Natasha. This leaves the two to have their first date, leading to their eventual marriage. They even vow to ‘Name [their] children / “Ada” for a girl / And of course little “Harris” for a boy’[8], highlighting that through Ada’s influence, their lives are transformed. Other figures fulfil similar roles in Ada’s life, with the actor playing helpful, pessimist Violet doubling as a grumbling char lady who gives Ada the solution for how to leave France with the dress. Brecht’s notion that, ‘the alienating or defamiliarizing power of drama…lies in its capacity to transform us and the world around us’[9] is certainly evident here. Indeed, although the musical does not necessarily alienate its audiences, we are evidently encouraged to draw similarities between the doubles and recognise that human nature is not so different between different countries. These characters are linked by their connections to Ada and the ways in which she is the catalyst to them achieving their desires. This is particularly true for Madame Colbert, who becomes manager after Ada’s intervention. Ultimately, the physical transformations of the setting and the characters, utilising techniques available on the stage, highlight how Ada transforms the lives of those around her. These relationships also change Ada’s life in turn.

Ada’s transformation is evidently the most significant in the musical. The title itself evokes her growth in its feature of the Flowers which fill her life. In her introductory lines, she asks of her late husband Albert, ‘These flowers, would you say they were crimson, or would you say they were scarlet?’[10] To which, he responds, ‘I’d say they were dead’[11]. The irony here is evident, with Ada both keeping the memory of her husband alive through imagining him whilst also treating the ‘dead’ flowers as if they were in bloom. This also emulates Ada’s journey throughout, as her subconscious, through Albert’s reply, seems to recognise that she is not living to her fullest potential. It seems she has almost ceased to live and instead now survives. In discovering the dress and subsequently working to achieve one for herself, Ada’s live becomes enriched. Whilst initially appearing to be endlessly optimistic, this veneer fades as Ada’s loneliness becomes apparent. Indeed, her desire for the dress is as a placeholder for live-in company. ‘Something to come home to’, as previously discussed. This is significant given the historical context of the piece. Of post-World War II British life, Wagstaff stated that this was an era, ‘where rationing (including clothing) was still in place and many Britons were in mourning…from [Gallico’s] book you get a very strong sense of colour emerging from the greyness.’[12] Ada’s emotional journey is reflected in how colour is introduced. At first, she is taken by the artificial colours of the Dior dress. However, it is ultimately flowers, along with a Dior scarf, which she is gifted by her new friends as a reflection of she has been emotionally nourished by her journey. Surrounded by the flowers, she sees them as reflections of her friendships: ‘Now look at me. Surrounded by people, so many friends’[13]. It is when she finds this true, fulfilled happiness through recognising the love in her life that she ultimately decides, ‘I have to let you go’[14], and allows herself to mourn. As such, Ada’s inner life is transformed by her adventures, brought on by her own kindness.

Ultimately, Flowers for Mrs Harris traces the transformation of its titular protagonist and those around her. The imagery of rebirth is potent throughout the musical. When adapting Mrs ‘Arris Goes to Paris, the title was changed to involve ‘Flowers’, which are prominent in the musical’s visual language. Indeed, Ada appears to personify them as her companions, bringing magic into a world in mourning. Significantly, this sense of breathing new life into the grey is the role she plays for others in her life. She is set up as being endlessly helpful, putting herself second in every instance. Underappreciated by her clients, her influence allows each to pursue a personal, romantic or career goal which will aid in their own happiness. When Ada makes her journey to Paris, she shows the employees of Dior a gratitude which they were lacking from other customers. These interactions result in the recipients’ kindness in return as they work day and night to deliver her dream gown. Yet, the destruction of the dress confirms that Ada’s life is not altered by attaining material goods, but by her experiences in the journey to purchase it. In the final image, she is surrounded by flowers, the birth of new friendships and the development of old ones. She is left in, ‘The Garden of Eden’[15], emotionally nourished by the belief that she will, ‘Never be lonely’[16] again. Ultimately, Ada is rewarded for her kindness and achieves more than she could have imagined before she started her journey. Emotionally fulfilled, Ada’s journey is not one of self-improvement, but of how she has changed the worlds of her communities.

Bibliography [1] Flowers for Mrs Harris Programme (Chichester Festival Theatre, 2018). [2] Chichester Festival Theatre, Rehearsal Trailer | Flowers For Mrs Harris | Chichester Festival Theatre, online video recording, YouTube, 23 August 2018 <https://www.youtube.com/watch?v=IcsG7M082Js> [3] Richard Taylor and Rachel Wagstaff, ‘There is More to Life’, in Flowers for Mrs Harris: Chichester Festival Theatre Cast Recording (Chichester: SimGRecords, 2020) [on CD]. [4] Ibid. [5] Taylor and Wagstaff, ‘Something to Come Home to’, in Flowers for Mrs Harris. [6] Taylor and Wagstaff, ‘Clients #1’, in Flowers for Mrs Harris. [7] Ibid. [8] Taylor and Wagstaff, ‘Flowers (Something for You)’, in Flowers for Mrs Harris. [9] Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, 4th edn (Harlow: Pearson Education Limited, 2009), p. 36. [10] Taylor and Wagstaff, ‘All I Ever Needed’, in Flowers for Mrs Harris. [11] Ibid. [12] ‘Creating Mrs Harris’, in Flowers for Mrs Harris Programme (Chichester Festival Theatre, 2018), pp. 6-11 (p. 7). [13] Taylor and Wagstaff, ‘The Garden of Eden’, in Flowers for Mrs Harris. [14] Ibid. [15] Ibid. [16] Ibid.