Claude Monet sits in his chair at Giverny, elderly and nearly blind, reflecting on a life that changed art forever. But as Stephen Smith’s riveting monologue unfolds at the Putney Arts Theatre, something unexpected emerges: the father of Impressionism wasn’t particularly nice.
The Arts Society of Southwest London took a creative risk bringing this Edinburgh Festival production to Putney, swapping their usual lecture format for theatrical storytelling. It paid off. Joan Greening’s script and Smith’s nuanced performance deliver something more valuable than hagiography – they make you see both the art and the artist differently.
Smith plays Monet as upper-class English rather than French, a choice he defended to the audience afterward as serving authenticity of performance over accent mimicry. It works. For just under an hour, he inhabits the aging painter with remarkable stamina, walking us through the birth of Impressionism, the First World War period, time in London, and the revolutionary years that changed painting forever.
Images of Monet’s extraordinary work project onto a canvas beside him as he speaks – those impossible captures of light on water, the legendary Orangerie waterlilies, London in the mist, Gare St Lazare and, of course, the grounds at Giverny. The paintings remain breathtaking. But Greening’s research, drawn from a writer who knows this period intimately reveals egotism, misogyny, and a streak of superiority that sits uncomfortably alongside the beauty.
A success
The Art Society deserves credit for thinking outside the box. A lecture on Impressionism would have been informative. This monologue sparked conversation, challenged assumptions, and made the subject matter human rather than reverential.
Is it life-changing theatre? No. The script occasionally drags, and some might find the character revelations more disillusioning than enlightening. But it was engaging, intelligent programming that trusts its audience to handle complexity.
A one-off performance that was worth seeing for anyone interested in art history, curious about Impressionism beyond the pretty paintings, or simply appreciative of thoughtful cultural programming in Putney. It didn’t change your life, but it might change how you look at a Monet next time you’re in a gallery.
Bravo Arts Society!
Monet one-man show reveals the difficult artist behind Impressionist masterpieces
Monet one-man show reveals the difficult artist behind Impressionist masterpieces-
Educational Value4/5 GoodThe show weaves Impressionism's history through Monet's personal story effectively, with guest appearances from Pissarro, Degas, Manet, Renoir, and others. You leave wanting to grab a book about Monet, revisit his work in museums, explore his English inspirations like Turner. That's what good cultural programming should do.
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Performance & Presentation3.5/5 NormalSmith's sustained monologue is technically impressive—holding an audience alone for an hour requires skill. The projected paintings work well, creating visual punctuation. The English accent choice initially jars but ultimately serves the performance. It's solid, professional work without quite reaching transcendent.
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Thought-Provoking Impact4.5/5 Very goodHere's where it excels. Great art makes you see the world slightly differently, and this succeeds by complicating the narrative around an artistic superhero. Learning that Monet was difficult, even unpleasant, doesn't diminish the work—it makes you think harder about the relationship between artist and art, between personality and genius.
