I remember vividly the first time I listened to the Broadway Cast Recording of The Bridges of Madison County – it was an evening in March of 2016, and as is usual I should have been sleeping, but instead I was captivated by Jason Robert Brown’s score – a blend of folk, rock, country and opera and the beautifully simple yet incredibly moving story. I kid you not, by the time I reached the finale, I was lying in bed with tears streaming down my face- my heart broken in the most gorgeous, joyous way possible. I listen to it every day, and have since read the novel by Robert James Waller, and seen the film version starring Clint Eastwood & Meryl Streep.

In all its forms then, it’s a story that gotten under my skin, and though the musical was short lived on Broadway in 2014, I spent the three years since it came into my life loving and longing for it to come to the UK, cursing the fact that my disability makes travel overseas nigh on impossible, eventually resigning myself to never seeing it. Then, it was announced that the musical would have a limited run at the Menier Chocolate Factory, and I immediately snapped up two sets of tickets.

Francesca Johnson is an Italian immigrant, a war bride of 20 years living on an Iowa farm with her husband, Bud and two teenage children, Carolyn and Michael. When her family are away at the State Fair, Francesca meets Robert Kincaid, a photographer for the National Geographic who is on assignment looking for Madison County’s famous covered bridges. The two connect, deeply and passionately and over the course of four days, Francesca rediscovers herself in ways she had long forgotten and finds herself at a potentially devastating impasse…

Loving a show for as long as I have this one and then seeing it live is a curious experience in that you’re never fully prepared for the intensity of emotions it gives you. I love Bridges of Madison County because it’s an intimate, quiet kind of show about people and relationships; the moments that shape and the choices we make. It works incredibly well in the Menier as the space in itself is intimate: it’s staged in such a way that you’re almost part of the action as the actors move around you. Just from my point of view I loved that the theatre is one of the few that lets me sit up front in my wheelchair; it made the whole experience even more special – I had eye contact with Jenna during a moment of To Build A Home, Paul stood right next to me singing When I’m Gone, and lots of other moments that sent a shiver up my spine and meant I hardly stopped smiling.

The space has a double revolve, on which various set pieces – Francesca’s kitchen, Robert’s truck and so on, enter and exit. Jon Bausor’s set can at times feel clunky (the fridge was teetering rather ominously during my afternoon) and thus transitions between scenes feel a little slow as a result, but the whole production comes alive when coupled with Tim Lutkin’s luscious lighting and Tal Rosner’s video projections that give us sweeping Iowa plains, a gorgeous starry night sky, and the bustle of the fair, to name a few, and actually things work at their best when they’re allowed to breathe, everything stripped back to merely the actors onstage.

Because we do have a tremendous company of actors telling this story. I’m so glad that my first experience of seeing Jenna Russell live is with a show so close to my heart as I’ll forever treasure the experience; her storytelling ability and interpretation of these lyrics is exquisite. She gives Francesca a warmth and grace, yet underneath is a sadness and longing that it takes Robert to help her articulate. Watching Jenna tap slowly into these conflicting emotions and rediscover herself was really moving, and she also has a gift for subtle, dry humour that I was delighted by having only heard the songs out of context.

Credit: Johan Persson

I feared that Steven Pasquale had spoiled me for all other interpretations of this role; a fear surprisingly short lived thanks to Edward Baker – Duly as Robert. He brings an easy, roguish charm to the role that I was captivated by, but like Francesca, there’s a sense of loneliness and pain beneath, hence these two souls find each other. Robert has my favourite songs in the piece, and his act two solo It All Fades Away was a particular highlight of the whole afternoon, as it brought a tear to my eye. In fact, it’s fair to say that from a particular point in Act Two and a line of his until the end of the show, my chest hurt from trying to hold it together and not dissolve into a broken, crying mess. Edward brings a likeable grit to Robert, but is also incredibly tender and sincere: his eyes are so expressive, I spent a lot of time just watching him watch Jenna and try to gauge what he’s thinking!

The thing I like best about Robert and Francesca’s romance is the fact that it feels very grounded – it’s not about the flashy romantic gestures. There’s truth and realism in it, bought to the fore by Edward & Jenna’s beautiful subtle chemistry.

Credit: Johan Persson

Dale Rapley plays Bud, Francesca’s well meaning yet oblivious husband. Having last seen Dale in the UK tour of the Addams Family, I loved the opportunity to see him in a bigger, more complex role here. As the show progresses, it’s clear that Bud is dealing with a lot of repressed anger and pain as his relationship with son Michael is tested to breaking point on their trip, and Dale makes him a more interesting, nuanced figure than perhaps he first appears. Not to mention that singing voice – the incredible harmonising on When I’m Gone in particular was an absolute joy.

Credit: Johan Persson

There’s charming, very funny work from Gillian Kirkpatrick and Paul F Monaghan as neighbours Marge and Charlie, and David Perkins and Maddison Bulleyment (particularly astonishing in her professional debut) are likeable as Francesca’s children, struggling to find their identities amid parental expectations. Shanay Holmes gets a shining moment as Robert’s ex wife Marian, and Georgia Brown pops up in various guises, including reminisces of Francesa’s as her sister Ciara.

Credit: Johan Persson

I got a little carried away at the end – much to Jenna’s amusement, I clapped till my hands were sore and whooped myself hoarse. It’s going to be one of those shows that I’m devastated I won’t get to experience for the first time all over again, and it was beyond well worth the three years of longing and loving. Can’t wait to do it all again come September 1st as part of my birthday celebrations!

3 years I’d waited for this moment!