Shirley Valentine – Duke of York’s Theatre, London

Writer: Willy Russell

Director: Matthew Dunster

Many of us are already acquainted with Shirley Valentine. One of writer Willy Russell’s most endearing creations, the character was introduced to audiences in his one woman show back in 1986. Pauline Collins enjoyed esteemed success on both the UK and Broadway stages before receiving an Oscar nomination for her portrayal in the film adaptation. Regardless of how many revivals are staged, Collins undeniably left some seriously big shoes to fill. Sheridan Smith not only walks exceedingly well in those shoes, but she also leaves a firm footprint.

Fully embracing the role and making it completely her own, this heartfelt, hilarious monologue at times feels as though it was written exclusively for her. It’s a genius casting choice and a career-best performance by the celebrated star.

Shirley Bradshaw’s children have fled the nest and the suburban housewife is in the throes of an identity crisis. She used to be Shirley Valentine – vibrant and fun but that happy-go-lucky woman now seems like a distant stranger. She resorts to conversing with the kitchen wall and spends her days devoid of any real purpose or fulfilment. Her irksome husband expects dinner on the table at six on the dot. Thursday is mince night without fail, only Shirley has given it to the vegan neighbour’s forced-to-be vegan dog – he is a bloodhound after all! Husband’s having chips and egg and unsurprisingly he is not best pleased.

Realising her life is desperately absent of any spontaneity, Shirley is tempted when her friend Jane invites her on a getaway to Greece. It’s a lovely idea but how will her husband survive for two weeks alone if he can barely distinguish between the stove and the washing machine? As he rants and raves about his meal-time routine being disrupted and asks if she’s “finally gone round the frigging pipe”, Shirley chooses to put herself first and seek the fun and adventure she so craves. When Smith appears in a change of clothes with a suitcase beside her, the audience breaks into applause – willing her on.

Smith instantly engages the auditorium. Adopting a conversational tone as she effortlessly interacts with her audience, it isn’t long before Shirley feels like an old friend. Regaling us with amusing anecdotes and offering some expertly delivered one-liners, Smith quickly gets us on side and invested in her character. This allows the two hours to fly by remarkably quickly. She relishes the role and is clearly having a great deal of fun. Her energy is infectious and laughter reverberates throughout the theatre with impulsive bursts of applause adding to the joyous atmosphere. Director Matthew Dunster ensures a healthy tempo, while permitting his performer enough space and time to fully embed herself in the character.

Designer Paul Wills provides a naturalistic set for the first act. The bedroom and bathroom of Shirley’s house are stencilled in a muted grey, suggestive of clinical tedium. Pastel colours adorn the 80s kitchen. The fact that our protagonist wears a simple pink and green outfit to match the décor only emphasises how she has succumbed to a life of routine and monotony. In Act 2 a large rock has replaced the wall as Shirley’s confidant. Other than that, only a small table at which she sits by the sea is on stage. It’s all that is needed.

It takes an actor of the highest calibre to do justice to this seminal, revered work. Smith’s standing ovation and lengthy applause is well warranted. The audience are almost reluctant to depart after two memorable hours in Smith and Shirley’s company. This is theatre at its most feel-good and fun.

Runs until 3 June 2023