Shirley Valentine

by | Feb 3, 2025

By Nick Pilgrim.

From the outside looking in, monologue-driven theatre may be the easiest medium to produce but amongst the most difficult and challenging of the performing arts to execute well. Separated from viewers by only their wits and a handful of props, it can be a scary experience for any artist working alone on stage. With no one else to play against, actors are completely reliant on raw talent and the writer’s words to win over and engage the audience.

In my fifteen years as a reviewer for Theatre Matters (previously known as Theatre People), I have had the opportunity to critique a solid handful of solo outings including:

  • A Different Way Home
  • Confessions of a Mormon Boy
  • Dead Royal
  • Every Brilliant Thing
  • Hold The Pickle
  • Late, Late At Night
  • The Gospel According to Paul
  • The Libra(ian)

The common link each of these examples share, stripped bare of the bells and whistles associated with large-scale productions, is how the performer draws people into the experience and holds them close for the full duration of a show.

Such is the case with Shirley Valentine.

If there is one thing the British do better than anyone, it is their ability to turn everyday lives into dramatic gold dust.  When kitchen sink dramas proliferated England’s cinematic landscape sixty years ago, these films likely influenced the next generation of writers and directors like Alan Ayckbourn, Alan Bennett, Mike Leigh, Ken Loach, and Willy Russell.

Russell’s biggest strength as a playwright is his ability to borrow from the female perspective. Women who would normally go unnoticed in life, are given both voice and power to stand up for their rights and be seen.

The prolific talent’s big breakthrough came in 1980 with Educating Rita.  Drawing on George Bernhard Shaw’s Pygmalion for inspiration, Russell’s two-hander told the story of a working-class hairdresser who wants to expand her intellectual horizons. Sweeping that year’s Olivier Awards with a win for best new comedy, an acclaimed film version was made three years later with Julie Walters and Michael Caine.

Russell followed up this triumph with Blood Brothers, an ambitious musical which detailed the harrowing story of a struggling mother who gives away one of her sons to ensure him of a better life. (It too, was showered with accolades including best new musical at the 1983 Olivier Awards)

Russell’s creative output culminated in potentially his greatest and most-well known work. Originating the role on London’s West End, Pauline Collins also headlined the play when it was taken to Broadway and later, an expanded version put to film. (It should also be noted that Ellen Burstyn took over from Collins in New York City, while Loretta Swit helmed a nationwide U.S. tour.)

It is no secret that Shirley Valentine is one of the biggest acting challenges facing any performer. The conversational monologue demands total commitment to the role, and an ability to juggle its stream-of-consciousness comedic and dramatic moments with pinpoint accuracy and timing in equal measure. Seemingly written to break the fourth wall yet highly private at the same time, forces the actor to listen to and constantly connect with her audience.

(Locals known to tackle this part include national treasure, Amanda Muggleton, who in a full circle moment was amongst the star-studded guests last Friday on opening night.)

Natalie Bassingthwaighte is one of Australia’s most well-known and beloved celebrities. An award-winning veteran of the entertainment industry, she is one of the few artists who has worked across multiple formats.  From success on television (including roles on All Saints and Neighbours), stage (Chicago), pop music and film (Baz Lurhmann’s Elvis), Bassingthwaite has seen and done it all.

Having had the privilege of watching Bassingthwaighte lead the talented cast of Alanis Morisette’s Jagged Little Pill three years ago, I was more than curious to see what choices the actor would make with this iconic role.

Bassingthwaighte gives a masterclass display. Landing the show’s anecdotal stories and cheeky jokes with aplomb and flair, Friday night’s full house hung on her every word.

It is however, in the show’s deeply dramatic and most personal moments, that the actor makes this character her own. Without giving too much away, when Shirley describes a chance meeting with an old school mate and the unexpected yet powerful effect it has on her, you could hear a pin drop. Recounting the moment with quiet despair, reminded me of Emma Thompson’s isolated heartbreak in Love, Actually (after finding out her screen husband, Alan Rickman, is having an affair.)

In short, Bassingthwaighte takes us everywhere.

Directed with loving care by Lee Lewis, whether audiences are familiar with the story or not, will embrace this charismatic everywoman heroine to their hearts.

Subtle yet brilliant creative support from Simone Romaniuk (set design), Paul Jackson (lighting design), Marcello Lo Ricco (sound design), and Brady Watkins (soundscapes) all contribute and differentiate Shirley’s journey from trapped housewife in Act One to rediscovering the woman she was in Act Two. Between them, the team build atmosphere and mood with sharp attention to detail.  From the working oven and cooktop that allows Shirley to make her husband’s nightly egg and chips in real time, to more fantastical elements such as the shimmering oceanic Greek Island backdrop, nothing is left to chance.

For fans of motion pictures such as Mrs Harris Goes To Paris or teleplays such as Her Big Chance, this is the show for you. Shirley Valentine speaks to viewers who have somehow become lost or devalued. The ability to rediscover who we are in the process, is what makes this delightful journey truly special.

Playing for a strictly limited season until February 16, don’t miss out.

Images: Brett Boardman

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