Pixie Lott Channels Marilyn Monroe in West End Play
The singer transforms into the Hollywood icon for the new production 'Who Killed Marilyn?', which has received mixed critical reviews.
Pixie Lott has embraced the role of Marilyn Monroe, sharing behind-the-scenes glimpses of her transformation for the West End production "Who Killed Marilyn?" at the Emerald Theatre. The singer, 35, dons a bleach-blonde wig and Marilyn's signature beauty mark and red lipstick for the part, stepping away from her pop music career.
The play, written by Sharleen Cooper Cohen and directed by Philip Wm. McKinley, aims to explore the life and death of the legendary actress. Monroe's death was officially ruled a probable suicide due to a barbiturate overdose, but the production delves into the conspiracy theories that have surrounded her passing for decades, including alleged affairs with President John F. Kennedy and Robert Kennedy, and theories of organized crime involvement.
While Lott's performance has drawn praise, the play itself received a lukewarm reception from critics. Patrick Marmion of the Daily Mail awarded it two stars, describing the production as having "all the drama of a Wikipedia entry." He noted that Lott's portrayal, despite its emotional depth toward the end, relies heavily on mimicking Monroe's famous mannerisms and fails to fully reveal the woman behind the icon.
Lott expressed her excitement for the role, calling it a "dream come true" to portray such a "fascinating, timeless legend." She previously starred as Holly Golightly in "Breakfast at Tiffany's" on the West End in 2016. "Who Killed Marilyn?" runs until October 29.
Lott, who achieved chart success with her debut single "Mama Do (Uh Oh, Uh Oh)" at age 18 and has recently released new music, is married to model Oliver Cheshire and has two sons. She has previously spoken about her admiration for Monroe's era, when celebrities maintained an air of mystery due to the absence of social media. "I feel like she has so many secrets," Lott said in a 2016 interview, reflecting on the lack of constant public access to stars in Monroe's time.