Review: SHIRLEY VALENTINE, Richmond Theatre

There are few male playwrights who have captured the female psyche as well as Willy Russell. The character of Shirley Valentine is both simple and complex. On one hand all she wants is to escape her life of regimented predictability, where her husband Joe demands his steak on a Thursday and the only source of entertainment is talking to her kitchen wall. On the other is the deep and heartbreaking aspect of wanting to return to her past, where she felt she had more worth and character.

As the show is a monologue, the actress playing Shirley must be sympathetic to the audience, as there is nowhere else for them to turn. Jodie Prenger is a little young to play the middle-aged housewife, but radiates instant, natural sincerity and cheeky confidence. Director Glen Walford never lets the stage feel empty as she bounds around her kitchen in an energetic whirl. She also has impeccable timing, teasing comedic value out of the most innocuous lines. She creates a vivacious and bubbly Shirley and is obviously very at ease in the role. The audience instantly warms to her and wills her on to escape her life of tedium for the sparkling sea of a Greek beach.

There is a slight disconnect with these characteristics and her situation, as it is hard to believe that such a witty, clever and vivacious woman is unable to break out of her stagnant life. Prenger needs to bring a little more depth to the role here. She is disillusioned but not downtrodden. The first suggestion of melancholy does not come until the end of Act I, where Shirley tells us about her daughter's horrified reaction at her audacity for going on holiday. She wobbles as the veneer of confidence is cracked a little and her character becomes more believable as a result.

References to the Milk Tray adverts and the new popularity of wine remind us that the play is now over 30 years old. What also dates it is the implicit suggestion that society believes women are middle-aged and unable to make a new start by the time they are Shirley's age, which is only 42. For a modern audience this is no longer recognisable; these days many people may be starting their families at that age, not suffering from empty nest syndrome.

What remains constant is the quick-witted and bittersweet brilliance of Russell's writing. The truth that women alone in hotel restaurants make other people feel uncomfortable and the regret that so many people feel that their lives have been half-lived remain as recognisable today as they ever were.

Amy Yardley's design places the play robustly in the mid Eighties. Prenger sports brassy highlights and a Margaret Thatcher-like suit, while the kitchen has orange pine units and very bright yellow walls. Items such as the Fairy washing-up liquid bottle from the original design are nice touches. The Greek beach scene is less successful; sea and sand are real challenges in theatre, but this misses the mark with garish, shiny blue sheets as the supposedly shimmering sky and waves.

This is a very good revival of a wonderful play. There are parts that are certainly show their age, but some themes are universally recognisable. Jodie Prenger may be slightly too gregarious as Shirley at first, but she has such warmth and easy comedy that this is easy to forgive.

Shirley Valentine is at Richmond Theatre until 25 March and then touring

Photo Credit: Manuel Harian

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