It takes a great deal of talent to pull off what is effectively a one-woman sketch show, yet writer-performer Carly Tarett does this effortlessly with her sequence of single-handed playlets themed around the seven deadly sins.

Apart from being very funny comic monologues, each piece works as a stand-alone drama.  Outstanding among them are the blindfolded neighbour-from-hell whose envy and interference have led to her current mysterious predicament, and a philosophical exchange (technically a monopolylogue) between a couple of east end bank robbers.  However the highlight of the evening is an outrageously rude skit about an elderly Welsh classroom assistant - her imaginatively obscene and expletive-filled commentary on Red Riding Hood would make Quentin Tarentino blush.

The night finishes with a couple of great comic songs by a bone-idle touring musician who won’t even finish writing her own lyrics.  Like several of the other creations I’d love to see her as a regularly recurring comedy character along the lines of John Shuttleworth.

Carly Tarett’s skilled writing and versatile delivery call to mind Joyce Grenfell.  With this all-round excellent show she is clearly a writer and performer to watch out for again.

Sinful was on at The Lass o’ Gowrie, 36 Charles Street, Manchester M1 7DB

www.thelass.co.uk
www.carlytarett.co.uk
www.eyeofthestormproductions.co.uk

The Vagina Monologues is less a theatrical production and more of a phenomenon. Having featured performers from many different backgrounds over the years including comediennes (Rhona Cameron, Jenny Eclair, Helen Lederer and many more), singers (including Mel B, Kim Appleby, Dannii Minogue), models (Sophie Dahl, Jerry Hall), presenters (Josie d’Arby, Anneka Rice, Mariella Frostrup), soap stars (Nikki Sanderson, Hannah Waterman, Wendi Peters) film stars (Honor Blackman, Samantha Bond, Sian Phillips), stage stars (Ruthie Henshall, Lauren Ward) and those from non-performing backgrounds (Rosie Kane, Christine Hamilton, Sharon Osbourne) the show has surprisingly always received a good response from it’s audiences.

 

The main reason for this good response is the quality of the writing. Garnered from interviews with women, the stories are real and at times moving. However, this is cleverly interspersed with witty facts, useless trivia and more lighthearted monologues too. The cast on this occasion, Anita Dobson, Mel Giedroyc and Joyce Falconer all seemed to have a good rapport together and seemed to be genuinely enjoying each others performances (and as Ms Dobson has performed on many tours of this show with a number of casts, this shows a real talent in keeping things fresh for each audience). Joyce Falconer delivers with relish a monologue which I unfortunately cannot name due to the rather forceful (censored!) word which she “reclaims” for woman-kind. This also culminates in her leading the strangest audience chant you’ll hear in any theatre production (and as author/performer of adult pantomimes, I’ve been involved in many of the strangest!). The glue for this performance was Mel Giedroyc, who seemed most at ease with the ad-libbed sections and group discussions. Also, her ability to handle a rather annoying crisp-eating audience member while still maintaining the dignity of the rather emotional monologue she was performing showed great skill and tact as a performer.

 

Although simply staged with just three stools, three leaded microphones on angled stands and two tables on one semi-circle of red carpet with a star cloth in the background, the design of this production and the use of subtle lighting changes enhances this production immensely. This is down to Tim Mascall’s very clever lighting design which uses a variety of spotlights and colours to emulate the mood of the piece.

 

I must also mention that while enjoying a great night at the theatre, every audience member is helping a number of charities working to end violence against women, as a percentage of every ticket sold is put to charitable use. Therefore while listening to some of the more distressing stories, you can know that you are helping to prevent this happening in the future. This is a great night of theatre and one which I feel proud (even/especially as a man) to have attended!

 

Performances:

 

Mon 8 Nov:      7.30pm

Tue 9 Nov:       7.30pm

Wed 10 Nov:   7.30pm

Thu 11 Nov:     7.30pm

Fri 12 Nov:       6pm & 9pm

Sat 13 Nov:     7.30pm

 

Tickets: £7.15-£29.00

Box Office: 0870 060 6647(bkg fee) web: www.ambassadortickets.com/glasgow

Talking Tom

The Customs House, South Shields

The latest production of The Customs House’s fifteenth anniversary celebratory season is Talking Tom, a series of monologues by Jarrow-born playwright Tom Kelly, performed by Pat Dunn and Donald McBride.

Firstly, we are introduced to Elsie, an elderly spinster who loathes smoking and drinking but who is looking for love and is desperate to ensnare the new male resident at the care home where she lives. In Elsie and Elsie Rides Again, Pat Dunn peels back the layers of Elsie’s personality perfectly and skilfully reveals the rather predatory monster that lies hidden beneath.

Next we meet The Club Doorman, a curmudgeonly old duffer, played by Donald McBride, who keeps the door at the CIU-affiliated working men’s club and who knows everyone’s business. What he doesn’t know is the effect that his moaning, groaning and general nastiness is having upon his long-suffering family.

McBride’s second character is the nosey neighbour from hell in Neighbourhood Watch. Shunned by all in the street because of his interfering, snooping and spying, he leads a lonely, empty and isolated existence, but is on duty twenty four hours a day, nevertheless.

The monologues are interspersed with readings from the playwright himself, in which he reflects upon his youth and the music and events that defined it, resulting in some spontaneous singing-along from the audience.

Each of Kelly’s characters has been penned with honesty and perception and they are so real, so familiar that they almost leap from the page. The dialogue is witty, natural and believable and it captures the extraordinariness of the ordinary to great effect. The performances from Pat Dunn and Donald McBride are faultless, the characterisations have been acutely observed, finely honed and are sharply delivered.

Talking Tom is a gem of a production that comes with the highest of recommendations.

STEVE BURBRIDGE.

Runs until Saturday 20^th March 2010.