(Seen at the afternoon performance on 29th June 2022)
Since its premiere in 1992, the monkey has always been frustrated by this Jim Cartwright play. It has seen productions with its favourite actors in the major roles, quite liked the film adaptation too - but it has never really “got” the message of the whole thing, until now.
Bronagh Lagan’s crystal clear and beautifully staged tour spells it out in terms even the monkey understands. It’s about selfishness. The kind of selfishness which destroys the lives of those around them, by chance or design. The consequences of these choices, and what can happen when a kinder spirit enters the equation.
Christina Bianco, far better known to the monkey as a cabaret artiste, hides a quite stunning talent for dramatic characterisation. Her Little Voice (LV) is not the intellectually challenged child most productions opt for. LV is a fine young woman, sheltering from a life nobody could reasonably be expected to cope with.
This fact makes the final moments all the more moving – particularly with Bianco’s vocal talents taking a deeply affecting surprise turn. A wonderful Akshay Gulati as Billy, the BT man with the heart big enough to embrace LV provides support in these pivotal moments. Warmth enough to have the muted matinee audience sighing with pleasure at the ending.
We first encounter Shobna Gulati as LV’s selfish, drunken wreck of a mother at a point where she is too inebriated to cope with herself. A little panto ensues, but the audience laugher is nervous. Bringing things full circle in her final scene, Gulati rips off any semblance of dignity, in a compellingly repulsive demonstration of wild-eyed self-indulgence releasing thrilling stage energy.
Her Boyfriend Ray Say has Ian Kelsey filling the sleazy wannabe theatrical agent role as if it could be his real-world side-hustle. Strong vocal too, but the transformation from chancer to chancer indulging himself to chancer losing the chance and sulking is a beautifully timed character arc.
In smaller roles, Fiona Mulvaney dazzles and revolts in equal part as the downtrodden mess that is Mari’s convenience friend Sadie. Knowing smiles behind the monosyllables, and spared LV’s ordeal only by dint of not having to live with Mari, hers is an impressive performance.
Club owner Mr Boo (William Ilkley) is another sharp operator, with a stereotypical nightclub of the era - the bill for smashed pint glasses proving it. The venerable Richmond Theatre felt decidedly downmarket whenever his sledgehammer wit crashed onto the stage. He also installs phones on the side, a neat little appearance in a secondary but important role.
Sara Perks solves all the problems touring with a set requiring huge transformation using simple furniture substitutions. The authentic era cornflakes packet is a neat detail, as are the clothes (LV’s cream pullover should be on the gift stand outside) which are true to the period.
Andrew Johnson’s sound design has a clarity making each vocal impression sharp and distinguishable. Nic Farman’s lighting able to provide the same standard of a shadowy joyless home, credible kitchen fire and fairy-tale display in theatres throughout the country.
While the monkey remains slightly unsure of the play’s balance (as an elderly man noted from the foyer notice to an usher, “odd to have the first act shorter than the second”), this production offers more explanation. Without the faux glitter early on we subconsciously absorb the rawness of LVs living conditions, making the second act even harder to bear as we share her torture on a journey to self-realisation.
There are only two more stops (York and Cheltenham) on this tour after Richmond ends on 2nd July 2022, and the monkey hopes its readers will take the time to catch this confident and worthwhile revival.
4 stars.
Tour website: littlevoiceuk.com.