Shirley Valentine

Tyldesley Little Theatre start 2026 with the one woman show Shirley Valentine written by Willy Russell, in 1986 and later in 1998 was turned into a film starring Pauline Collins.

The scene is first in Shirley’s kitchen – airy, open with cream walls and a window Stage Left with blue curtains and a door to the rest of the house. Stage Right is a pantry door which we see stocked with various household items; also Stage Right, a pine table and chairs with wine glass and bottle on the table and behind that is an ironing board and iron where Shirley places a basket of washing. On the back wall is a door to the outside Stage Right with a picture on the wall. Then the other side of the door are wooden kitchen units shaped in L coming down under the kitchen window, with wooden wall units to match. A cooker, fridge and sink with drainer are also featured.

Various props then help complete the look with spider plant on shelf, bottle opener hanging on the wall. Teapot, kettle, collection of pans and other items. A convincing kitchen of the late ‘80’s with appropriate lighting giving it a fresh bright look.  Act Two we are transported to Greece, where an off-white cloth cuts the size of the stage down to give an intimate feel. Stage Right is a large blue fringed beach umbrella; a small table and two chairs are set off Centre Right with wine pitcher and glass on the table. A large rock Stage Left and blue wooden screen coming from Stage Right with wisteria-like pink flowers hangs overhead.  The blue and white traditionally seen in Greece was not lost. Lights were then strung across the stage like you would see in a taverna. Subtle warm lighting was also used to give the hint of heat in contrast to the stark lighting in the English kitchen. Sound effects of the chips cooking and the fried eggs added authenticity to the kitchen scene.

The opening music was I’ve Never Been To Me by Charlene which was then on the radio in the kitchen when the curtain opened and Act Two was Zorba’s Dance from Zorba The Greek by Mikis Theodorakis. Set Construction Eddie Stanley and Andy Haymes. Set Decoration Andy Hood. Properties Jo Hibbert and Laura Solski. Lighting Design Peter Gower and Jenny Ackerley. Lighting Operation Jenny Whur and Jenny Ackerley. Sound Compilation and Operation Paul Whur. Hair and Make-up Danny Tooby and Rebecca Southern.

You would be forgiven for thinking this play was written by a woman - the observational accuracy is amazing. Russell takes his time from when he was a hairdresser to portray how women often struggle with identity once the kids have left home. The feeling of invisibility and menopause was not a thing talked about much in the mid-1980’s, so I really feel this play is ahead of its time as we witness the fears and thoughts of a woman who talks to her kitchen wall and then a rock when in Greece. I did note that the audience was probably about 90 per cent women on the night I was there and nodding in agreement at what was being said.

Danny Tooby takes on the role of Director and it’s clear the intimacy of one to one comes across in this piece. It is noted we only see the actor on stage - no stage crew to break atmosphere, with the actor clearing the set herself, as you would in your own kitchen in the first act between scenes. Using the space well and changing from a fully fitted kitchen to the shores of Greece worked a treat. The costumes and hair all adding to authenticate the look.

Rebecca Southern takes on the mammoth task of Shirley Valentine, no one to hide behind - just her on stage. She takes us through a gamut of emotion, using the wall in her kitchen and on the Greek island a rock her thoughts are spoken to us the audience.  This is actually one massive out-pouring of a monologue. Rebecca builds us the picture of her husband she has grown distant from and his love of the things that happen regularly. For her friend Jane - who actually suggests the holiday in the first place - we are given an insight into her marriage ending. Shirley’s two children have both left home, although one does come back briefly. Then there’s her neighbour who can always top what Shirley is doing and ends up surprising her. I wonder how many people can relate to the headmistress story or the girl at school that you envy when in actual fact she is envying you. Russell’s observational humour is spot on here and Rebecca delivers - she inhabits the kitchen as her own, peeling potatoes and cooking chips and eggs making the mundane relevant. The pathos and humour were brought out well and I reiterate the audience were nodding and agreeing with what Rebecca said. It was almost like being at a women’s well-being rally. Rebecca as Shirley’s pragmatic approach to the holiday romance is enlightening and we begin to see Shirley blossom: the idea that a woman cannot be on her own on holiday touched on in a hilarious way; the freedom to skinny dip in the ocean. The coming of age of Shirley was well portrayed and as Rebecca stood there, deciding not to go back to England, she appeared to have grown a foot in height, strength & looked majestic.

I am sure this piece would have resonated with a lot of people as it still stands up today. Well, done Rebecca and Danny for taking on this one-woman play about disillusionment of life and watching the character come alive, blossom and triumph.

Thank you from my guest Matthew and I for the invite and hospitality

 

Liz Hume-Dawson

D5 Rep

© NODA CIO. All rights reserved.