The Rise and Fall of Little Voice

I can only say what courage Thurrock Courts Players demonstrated by putting on such a complex performance of The Rise and Fall of Little Voice. There are few companies who could deal with the emotions and issues raised in this show, either with casting or production values. Yes, there were funny bits and music but, it was mainly, raw emotion. This cast was fantastic, and I don’t use the word lightly. There were scenes in this production that had the audience gasping in shock: there were a few nervous laughs but mainly the tension and emotion built through the show to an unbelievably tense climax.

I have taken 24 hours to process everything I saw before I wrote this review. The initial scenes started quite comfortably introducing the characters and the superficial ‘opinions’ of their characteristics but, as the second act kicked in, we were left in no doubt as to the underlying personalities of the cast, most of them a shock and surprise.

The set was clever with different areas for the narrative to be played out, but no major set changes were needed. This meant the action gathered momentum as the play progressed. We could see Little Voice’s bedroom at all times and the other areas of the house as well as the outside so the action flowed from scene to scene seamlessly, but we could also be a ‘fly on the wall’ peeping into the bedroom or alleyway to see what was going on there at any time.

The scene after the fire particularly resonated with me having just experienced something similar: you nailed that atmosphere perfectly. Well done Vic Gray, this set was absolutely right for this show.

 I haven’t mentioned the director, Josh Handley, yet but everything I am writing about is directly attributable to you. Congratulations Josh, this was a carefully and sensitively thought through piece of work, which was one of the best plays I’ve seen in years. The intensity of the story is one that could be difficult to bring out of the actors but you didn’t shy away from the most intense dialogue and leaving the essential pauses in which you could hear a pin drop.

Jill Snelling, as Mari, did not let her character drop for one instant. She was fabulously course and loud and the stage was alive when she entered it to nag her daughter, make use of her best friend and flirt with, well, anyone she could. When Ray, Wayne Prince, told her she was no use to him and how disgusting she was, there was not a person in that theatre that wasn’t truly shocked into silence. That was down to her wonderful, bustling, over-the-top, cigarette smoking, drink in hand presence on that stage. She portrayed the slide from confident brash persona in tarty outfits to a broken woman attacked and criticised by all with a total confidence.

Wayne Prince, playing Ray Say, was fabulous. In the interval I was convinced that he was one of the nicest characters on the stage, especially after that gorgeous bluebird dialogue to make LV go along with his ideas. The way he descended to the villain when things didn’t go his way, was truly masterly. As was his delivery of the drunk song ‘It’s over’ at the end after he realised everything had gone.

Luke Coldham, as Mr Boo, was deliciously sleazy and so comfortable in that part. Whenever you step onto the stage, you absolutely own it. I love watching you perform.

Pauline Neal, as Sadie, was a great foil for Mari, but, although you were really funny, you never upstaged the action. Everyone needs a friend like Sadie, this was a lovely performance.

Michael Southgate, as Billy, was terrific. What a balancing act that part was (in more ways than one as he was up a ladder a lot of the time) and he got the balance just right in handling LV and her difficulties and involving her in his lighting projects. This was a lovely, caring, gentle performance which was totally believable.

Sophie Nash played LV (Little Voice) and was just wonderful. What else can I say? The transformation from the introvert, mousey, manipulated girl to gaining confidence and a degree of independence was terrific. The sudden outbursts into song were powerful and pierced through the narrative as an amazing contrast from the earlier restrained demeanour. Seeing her curled up in a corner of her bedroom wincing at the noise and chaos going on downstairs was more powerful than any words to show the audience how nervous she was. Well done, Sophie. This is one experience that will stay with you for a long time. It certainly will with me.

Congratulations to the tech team who had achieved a level of perfection even though I saw this on its first night. That is very rare to be this confident on the first night, sound was great, lighting design was clever, especially the fire scenes, and the set was adapted and changed smoothly with no interruption to the flow.

Huge congratulations Josh, you should be so proud of this production.

Many thanks to the FOH team for making me and my guest so welcome.

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