THEATRE REVIEW: The Rise And Fall Of Little Voice - The Lowry Theatre, Salford.

'The Rise And Fall Of Little Voice', written in 1992 by northern playwright Jim Cartwright, has strong parallels with a fairytale, especially perhaps Cinderella. An awkward, shy and retiring daughter of an overbearing and powerful "wicked" mother, with a 'Big Bad Wolf' who comes along with promises of stardom and greatness; whilst the handsome young prince waits patiently in the sidelines. But all this comes at a huge emotional and actual cost for our characters. Will there be a happy ending...?

The play does feel a little dated at times - especially in the comedy directed towards Sadie;whilst some of the swearing seems forced and not able to pack the same punch as it would have done back then. And of course one needs to be of a certain age to recognise the diva's being impersonated by our central character. Perhaps, after 30 years it is time for an update?

However, the central themes of the play are still as relevant today as they were when the play was written. How alcoholism turns an already hugely dislikable single parent into a cluttered, uncouth, and domineering sloven, depicting with prescience the difficulties faced by many a contemporary working-class family trying to exist on little or no money. 

The storyline is no longer shocking, but the characters certainly still as ugly and unlikable; the story centres around the juvenile daughter of Mari, known as 'Little Voice' or simply LV, due to her retiring and silent nature. Suffering from the death of her father and the lack of motherly love shown her, she finds solace in the stillness of her bedroom and the beloved record collection of her father. Playing the records to drown out her miserable daily life. Her relationship with her mother is razor's edge, and this is only exacerbated by the latest in a long string of one-night stands and sexual encounters - a man who goes by the name of Ray Say, and is in "showbusiness". Played by Christina Bianco - an American internet sensation known for her vocal dexterity at mimicry - she seemed the perfect choice for a part that relies so much on the talent to sound like others. Bianco proves to be a very talented actress too however, as we see knowing and power in her many still moments of quietness, and she combines this easily with an immature and girlish glee as her heart flutters at Billy's tentative attentions. There is power in her inaction, and gravitas in her final speech, and the real joy is to listen to just a single line of song at the very end sung in Bianco's own voice. For those who have seen the film, then you may well say that Bianco is imitating Jane Horrocks - certainly she looks very similar as is her characterisation - but we must remember that Jim Cartwright wrote the role of Little Voice for Jane Horrocks, who starred in both the National Theatre premiere and the film, and so that is how the role is meant to be portrayed. What we must also therefore remember is that Bianco is not doing an impersonation of Horrocks (although for a New Yorker, her northern English accent is flawless), but convincingly portraying a borderline agoraphobic, traumatised by grief and parental abuse, who continues to simply exist the only way she can, until she is given the chance to find her own voice. 

If LV is the reason for the play, her mother, Mari, is certainly the driving force. Shobna Gulati wrung every single nuance out of this character and more besides, obviously revelling in the more comedic side of her character (sexual innuendo, Malapropism, etc) as well as great use of comedic physicality, she is gauche and egocentric to the point of almost, but not quite, caricature. Gulati is a consummate actress and knew exactly when to reign the character in and keep on the right side of believability. We never, not even for one moment, feel sorry for her; even her pleading and crying in  the gutter in the denouement is not for her daughter, but for herself. But there is vulnerability in her character, and she is real. Mari must have two thirds of all the dialogue in this play, and she hardly stops for a breath; Gulati's performance was measured, comedic, completely full-on, but never OTT.

Ian Kelsey completes the trio of protagonists, as the roguish, almost Del Boy-ish northern charmer, Ray Say. Seemingly at first quite happy to get his leg-over with Mari, he chances upon hearing LV sing in her bedroom, as is genuinely both surprised and delighted. It is not until later, when he realises the monetary potential of this "find" do we see the real Ray, and it is a delight to see. Kelsey's impeccably-measured and nuanced portrayal of Ray, was, for me, a definite highlight in this production. 

Two other cast members who most certainly deserve mention are Fiona Mulvaney as the next-door-neighbour, Sadie. Only friend to Mari, Sadie is certainly what might once have been called 'a little simple' and the butt of Mari's jokes, whose monsyllabic responses of 'OK' and thick skin are exactly what keeps them friends. An understated and important role, Mulvaney showed great skill in pitching this character perfectly. Whilst Akshay Gulati as Billy - perhaps the most underused and underdeveloped character in the play - gave a carefully considered peformance. Sadly the play doesn't delve deep enough into the relationship between him and LV, and it seems incomplete, but his simplicity, and quiet retiring presence perfectly complemented LV.

Directed by Bronagh Lagan, there were a few moments when the pace dipped almost to a standstill, especially in the first act, but she certainly showed a keen understanding of the play and the people who inhabit it, bringing out the best (or should that be worst) of her talented cast. The set (Sara Perks) was a doll's house cutaway of a two-storey semi; squashed, cluttered, and dirty. Sadly, the set at the end (when there should have been a huge change - without wishing to give away any of the plot!) was hardly different at all. This was a great disappointment for me, losing much of the grit and realism that had thus far been created. However, the cast more than compensated for this, and watching Bianco's 5-minute spot in the second act was worth the ticket price alone!

Reviewer - Matthew Dougall
on - 6/6/22