Originally written as a one woman show, the play features
six monologues; a schoolgirl, a bride, a hassled young mother, a widow, a
suburban divorcee, and a has-been cabaret singer. Six stories, six ages of
woman, six insights, six emotional states.
I love a monologues structure. It allows the actor an
intimacy of connection that isn’t usually experienced in a traditional play and
for the audience it can be electric. If the quality of the writing and the
quality of the performance are strong, Bingo! You have yourself a hit.
Joanna Murray-Smith has, in these six monologues, create a
very entertaining, humorous and contrasting work. Each woman has her own
insight, her own experience, her own denial, her own victories and failures,
her own fears and joys.
First we meet Meryl (Eilidh Pollard) mother of three very
young children. We wake with her at 6.07am when her crying baby starts the day
and we stay with her for 24 hours until 6.07am the next morning when the whole
routine (or lack of) starts again. She is hassled, harassed, tired and
emotional. She is overwhelmed with love for her beautiful children and the
endless repetition of the tasks of the day. She craves approval, acceptance,
reassurance that she is a good mum, and coffee. She is filled with self-doubt
and chastises herself as a selfish woman for ever considering her own needs;
for ever being anything other than a slave to mother and wifehood. Pollard
portrays well a loving woman who is under pressure. Her interactions with her
children are well expressed and she uses her voice effectively and understands
the rhythm and psyche of the character. I would have liked to have seen a more
realistic handling of her ever present, milk demanding baby with a more
realistic and believable baby prop. I think it would have allowed more moments
of change of pace for her by utilising her breastfeeding regime and given
contrast to the frantic pace of her day.
Next we meet Tiggy. (Lindsay Barker) Shy, sad Tiggy. Poor
lonely Tiggy. Abandoned, angry Tiggy. Her husband Harry has left her for a much
younger woman and in response she has embraced the world of cacti and
succulents by joining a local appreciation society. She gives talks about them
in local community centres. She comes alive when speaking on this her
specialist subject. Barker conveys a gentle, shy woman who is kind and
thoughtful, sweet and gentle, but much like a cactus if you catch it the wrong
way, a sharp, stabbing painful moment can occur at any time. There is a
vulnerability about her that Barker portrays effectively.
Young Mary O’Donnell (Ciara-Alexandra Booker) is the MOST
talented girl in her school. She can sing and dance like no other and is hotly
tipped to win the prestigious St Bridget’s Annual Talent Contest as she did
last year, and the year before. When her nemesis Angela McTerry unexpectedly
performs the very song and dance routine that Mary has been preparing, she has
minutes to decide what to do as an alternative performance. It’s not a problem.
She is talented, almost a professional, she will cope. If Meryl Streep can, she
can. What unfolds is hilarious, well judged and sweetly psychopathic. Booker
excels in this performance. Just like Les Dawson’s piano playing – you have to
be pretty good to be able to do it that badly and Booker was THAT good.
Theresa McTerry (Kim Armston) is The Bride. Today is the
happiest day of her life. We see her prepare excitedly for her wedding telling
us of how she has planned this moment since being a young girl. As she dresses
herself for this, the most important day of her life, we share her excitement
and anticipation. But as the moment comes and she steps into the ceremony her
doubts and fears begin to emerge with great comedy. Turns out she hasn’t really
thought much beyond the dress and Amston portrays this role with great humour
and nicely timed focus. As the ceremony moves to the reception her state of
mind declines and her desperation to escape her reality hits home. It really
WAS all about the dress and her journey from giddy girl to desperate woman is
laid bare. It is a nicely jugged and well paced performance
Winsome (Sarat Broughton) is a widow. Her widowhood defines her as she copes with life following the death of her husband. She surrounds herself with the company of other widows and falls into a fixed routine of activity that seems to function as an anaesthetic to her pain and loss. When volunteering for a local Blind Society, reading books to it’s members, she meets Patrick, a much younger man. Gradually he seduces her and an awakening occurs that is both unexpected and beautiful. It takes some skill to perform a seduction alone on a stage and I must applaud Broughton for her portrayal. Her movement, vocal expression and nuanced performance was for me, impressive.
Zoe Struthers (Annabel Fox) is a Diva. An ageing, alcoholic
diva who is past her best. We witness her swansong, a final performance for her
adoring fans. She is demanding, self pitying, deluded and drunk. She laps up
the adoration and manipulates it to suit her many needs. A monologue which is
styled with audience banter inserted between songs this could have been a final
showstopper. For me, Fox did not quite deliver. Her tragic performance needed
to be much bigger, bolder, drunker and more Diva-esque. Basically, more Liza
Minelli.
In conclusion, I did enjoy this show. The intimacy of this
lovely studio worked very well for this piece of theatre and there was a lovely
connection with an appreciative audience. Between the monologues, actors
repositioned the stage for the next performer and for me this did not work and
lacked directorial imagination. Connections could have been made using these
moments and I felt clear opportunities were lost. This was a shame as there was
some real talent amongst a generally good cast. The piece was entertaining and
enjoyable. It was good. It could have been great.
Reviewer - Lou Kershaw
on - 27.9.23
Sounds good. Sorry I missed it.
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