by Ian Diddams
Images by Chris Watkins Media
Alan Bennet wrote his series of monologues in 1988 and 1998, with two more in 2019, centring on, though not confined to, stories of “Northern” women, based allegedly on characters he had known in his life, particularly his formative years. The Wharf Theatre has kicked off its autumn program with three of Bennet’s one woman shows performed by two new faces to the wharf, and Tina Duffin who has graced the boards there for a few years at least now.
“A Lady of Letters” with Joanna Daniel as Irene starts the evening. It’s a mesmeric tale of a nosey neighbour spinster, who fills her time writing letters complaining about smoking pall bearers, neglectful parents, prostitutes and paedophiles. We all know somebody like Irene. The vicar, the chemist and the police are the recipients of her missives – but her ill informed NIMBYISM comes home to roost as the truths behind her complaints are learned and she ends up in jail for harassment. It’s here however that she finds herself truly free and with a social life for the first time in her life…
“A Cream Cracker under the Settee” with Liz Holliss as Doris concludes the first half. Doris is an aging and increasingly frail widow, struggling to maintain her independence while being hen pecked by an – allegedly – sloven home help care assistant. Trying to stave off being moved to “Stafford House” a care home, it becomes increasingly apparent that Doris isn’t actually capable of keeping herself safe and is too proud to admit it. As in “letters” as the play progresses, we learn more and more about Doris and her life until now, each new revelation moving our understanding slightly from what we had so far understood. There is a “BANG” moment towards the end that stops the viewer in their tracks – a hitherto un-hinted at sea change in Doris’ life, if not her husband’s. This is the saddest tale of the three as we see Doris’ decline in just thirty minutes and her inevitable future.
After the interval, “Bed amongst the Lentils” with Tina Duffin as Susan is the lightest offering of the evening, although in true Bennett style this isn’t all roses and jollity. The poignancy and inner sadness of the first two monologues is still here – its rather that the ending has no changes in Susan’s life except – possibly – beneficial ones as she looks to overcome her alcoholism which becomes more evident through the story. Susan is a vicar’s wife, and stalwart of the village fete – though she finds her role as Mrs. Vicar challenging not least as we learn she has no particular skills and is an agnostic surrounded by devout church goers and an ordained husband; there’s some home spun philosophy in here which I have often thought myself. Susan is clearly if not disenchanted with her life, at least bored with it… her alcoholism spawns infidelity, though it’s this last act that ultimately leads to her salvation from the demon drink … before the object of her carnal releases gently leaves her … and she is left wistful but not sad…
If there is one over-arching theme of these plays its one of entrapment – women stuck in their surroundings – be it a home as a prison with the irony that a prison becomes a home, a home that is now an increasingly dirty house, or a boring marriage and estranged lifestyle. With all three finding release in some not so obvious ways.
All three monologues are set in similar rooms… somewhere between 1950 and 1970 in décor though as we possibly notice ourselves with older relatives – or even ourselves! – that may still be the same thirty years later of course. The Wharf’s own tech crew as ever created the sets – it’s been many a year since I’ve seen so many antimacassars. Gill Barnes and her wardrobe team as ever hit the spot with clothing befitting women of a certain age and the actors portray that well.
The actors… perfect for the roles in every way. They each capture their characters so well. Susan is every part the vicar’s wife disjointed from her immediate life, Doris the desperate widow gas lighting herself over her independence, Irene the curtain twitching poison pen shit stirrer. Every part as excellent as Maggie Smith, Thora Hird and Patricia Routledge respectively from the original BBC series in the last century.
Abigail Newton, self-released from her national CAMRA activities, returns to direct this perfect show. She has captured the poignancy, light humour and hidden tears and fears of Bennet’s slightly tortured souls in these three monologues. In the week that Oasis gig tickets were released don’t miss out on seeing this particular show … lest you look back in anger.
“Talking Heads” by Alan Bennet plays at Wharf Theatre, Devizes, from September 2nd to 7th at 1930 every night.
Tickets are available from the Wharf website at https://www.ticketsource.co.uk/the-wharf-theatre/talking-heads/e-dezdpm
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