Jim Cartwright’s play has almost become a bit of a cult hit due to the Sam Mendes’ original National Theatre production and by the Mark Herman film starring Jane Horrocks. Now The Rise And Fall Of Little Voice returns in all its glory, presented by Birmingham Repertory Theatre and West Yorkshire Playhouse – which is becoming a rather fruitful artistic partnership that we certainly want to see more of.
The play tells the story of a shy, reclusive girl named Little Voice and her larger than life, out of control mother. Little Voice spends her days alone in her bedroom. Surrounded by her late father’s records she escapes to the extraordinary voices of Judy Garland, Billie Holiday and breathless tones of Marilyn Monroe. When local talent agent, Ray Say, overhears her he sees a way out; this is his chance for the high-life, his road to the showbiz big-time. But Little Voice just wants a normal life and to be loved. Not everyone is going to get what they want.
The performance of Nancy Sullivan as Little Voice, is worth the price of the ticket alone – she’s spectacular. An endearing, movingly powerful performance in a role that suited her down to her boots. A part with very little lines, she ensures there is a real openness to the audience, and lets us in to the mind of the reclusive character. Her versatile voice shines: with her rendition of Somewhere Over the Rainbow you could almost be mistaken for listening to Just Garland herself.
A real driving performance from Vicky Entwistle as the garish mother, Marie-Christine, keeps the pace throughout. She brings out the lightness as she paints the picture of a real tragedy of a dysfunctional mother upon which the rest of the play is built. Brilliant alongside her was Joanna Brookes as friend, Sadie, who has little to say but fuels the comedy of the piece. Her character remains dry and still through most of the performance with moments of comical precision scattered to great effect.
Showbiz man, Ray Say is suitably charming and oily. Chris Gascoyne handles the characters transformation intelligently; his rendition of the infamous It’s Over scene is spot on as we feel somewhat awkwardly embarrassed for his character. He plays well against Entwistle and the vulgarity just borders on the right side of too much. Tendayi Jembere gives us an amiable Billy as he really nails the awkwardness of the character, and his clever persistence brings out a real light in performance. There is one moment, as he stands at Little Voice’s window (saying no more as not to spoil the scene for future viewers), which is both perfectly touching and humorous – his tenderness in the final scene allows for the piece to be rounded off joyously.
The set is magnificently crafted, allowing us to become fully absorbed in the story. A true mark of the research carried out and clear planning with the shows vision in mind. The radio broadcasts help set the era. The foundations of the house, along with the sharp direction from James Brining, allow us to feel we are almost intruding, and allows us to view multiple rooms at once, completing a real picture.
The second act is truly riveting, and has you on the edge of your seat, so beautifully is it crafted. A real examination of life under the microscope – gritty, witty and compelling. Excellent theatre, and a real treat. ★★★★★ Sam Chipman 20/05/15
