The Rise and Fall of Little Voice

Photo – Sarah J Carter Photography

Whatever I say about this production will most likely (and justifiably) pale into insignificance as Sardines was well and truly upstaged 24 hours earlier at Hampton Hill Playhouse by none other than Sir Ian McKellen landing on the doorstep. Not only did the Knight of the Realm drop into watch Teddington Theatre Club’s production of The Rise and Fall of Little Voice the day before yours truly, but after TTC’s superb show he told Aggie ‘LV’ Holland “I saw Kate Bush at the O2 last week, and Kylie Minogue at the Roundhouse yesterday. Your LV topped them both.”

…Perhaps I should just leave it there! He’s not wrong, either.

(Sir Ian McKellen pictured with Aggie Holland)

With a cast you could almost count on one hand, I would have to declare that this is probably the best amateur production I’ve seen so far this year. Directed by the very experienced Nigel Cole, there isn’t a weak link in the building – and I’m not just referring to the half dozen perfectly-cast actors filling the stage. With every performer right on the money, TTC’s audience can enjoy the added treat of Jenna Powell and Lizzie Lattimore’s authentically nauseating two-storey set (complete with sparking plug sockets) beautifully lit throughout by Mike Elgey; Harry Jacobs’ sound design which ranges from the crackling buzz of overloaded wiring to old-fashioned record players to LV’s jaw-dropping night club performance at Mr Boo’s (MD Nic Luker’s live band added the icing on the cake); and lastly Zoe Harvey-Lee’s faultless costume design which perfectly characterises Jim Cartwright’s wide-ranging spectrum of Northern misfits.

This is a production where every fine detail has been carefully explored, analysed and mastered.

Photo – Sarah J Carter Photography

…Little Voice as a play has now had two West End runs, toured the UK and been turned into a major film starring Jane Horrocks, Brenda Blethyn, Michael Caine, Ewan McGregor and Jim Broadbent. The story is about a reclusive Yorkshire girl who lives most of her life shut away in her bedroom with her beloved records left to her by her dead father. In contrast, Mari, LV’s loud, brash and out-of-control mother, is sleeping her way through the town. When, one drunken night, Mari brings home small-time performers’ agent, Ray Say, a blown fuse box plunges the house into silence enabling him to hear LV mimicking some her singing idols. If you don’t know the story you might guess the rest; pound notes light up in Ray’s head and he manages to manipulate LV into appearing at the local social club. While LV gives a mesmerising performance, artist and agent have two very different agendas and, needless to say, everything eventually comes crashing down.

There’s a high element of tragedy to Cartwright’s play which he diffuses through many subtle and not-so-subtle comedic moments. But, as TTC’s director Nigel Cole told me afterwards, “Despite everything that happens it’s a play without a happy ending, for anyone.”

Photo – Sarah J Carter Photography

Jim Cartwright has written so much truth and comedy in equal measure into …Little Voice’s characters that they almost look too easy to take on. And there’s the trap; with so much at stake to get right it’s a fine line between truthfully representing these people and overplaying them in the name of fun. It’s refreshing to see an amateur company recognising and addressing this element which goes a long way to merging the crossover between amateur and professional.

The aforementioned Aggie Holland excels in the play’s title role and does a lovely job of teasing the audience with some early bedroom snippets of LV’s favourite stars. Holland’s shy and vulnerable portrayal is a joy to watch and made all the more touching when, in contrast, she gives an explosively professional performance taking on Shirley Bassey, Billie Holiday, Doris Day, Édith Piaf, Marilyn Monroe and Judy Garland in her night club performance – it’s a clever touch seeing her momentarily shrink back into her shell between songs until the next intro would let her escape, once again, into her fantasy world.

Photo – Sarah J Carter Photography

In an equally fine performance Dorothy Duffy, as Mari, is gorgeously tacky, tasteless, obscene, repulsive, deluded and way past her sell-by-date. Unerring in energy this was a tour de force performance to enjoy and be enjoyed. Opposite Mari, Steve Taylor’s opportunist Ray Say is also a delightfully grubby character using anyone he meets to his advantage to get through life.

In support, Carol Fuller’s ‘Sadie’ the unfortunate and much-trod-upon next-door neighbour to Mari is yet another of Cartwright’s tragic figures but mostly veiled with comedy, which Fuller pulls off well. Dave Dadswell as club Northern owner Mr Boo is deliciously old-fashioned as he lazily regurgitates his 30-year-old routine night after night. Lastly, apparently in his first appearance with TTC, Steve Shepherdson makes a warmly received knight in shining armour for LV as bashful local boy, Billy.

The Rise and Fall of Little Voice performed by Teddington Theatre Club is at Hampton Hill Playhouse until Saturday, 4th October.

If you fancy laughing, crying and hearing one hell of a singer, grab yourself a ticket!

Photo – Sarah J Carter Photography

• Type: admin
• Performance Date: 29/09/2014
• Star rating: 12345