Writer: Sue Ryding
Director: Lawrence Till, Mark Chatterton
What do you do when your other half dies, leaving you with a shipping container full of props, costumes, wigs, soft toys, knitted organs and one rather wobbly looking life sized sheep?
Lipservice Theatre is a 40 year strong endeavour between performers Sue Ryding and Maggie Fox. A feminist comedy duo beyond compare, who toured up and down (and East and West) across the country and beyond with their satirical takes on a range of literary masterpieces from the likes of Jane Austin, the Bronte sisters and Sir Arthur Conan Doyle, as well as performing in films, radio dramas and even the odd stately home.
Fox died unexpectedly in 2022, aged 65. Ryding was left sorting through the gathered ephemera of a life on the road, while grieving the woman she had worked with since their University days. The plan became to stop touring and instead focus on creating an exhibition plus a physical and digital archive of Lipservice’s many madcap items from their shows. But after a chance encounter with a fan while leaving a train, Funny Stuff formed as a launch and a tribute to not only the late Fox, but also to the theatre company and to Ryder herself. Solo, Ryder takes the audience through the history of Lipservice, using the contents of that shipping container to tell stories as she contemplates packing everything away, and muses on how to become a whole when you’ve always been a half.
It’s a beautiful tribute. The tone walks the line between side splittingly funny and genuinely heartfelt, without ever tipping into wallowing, as would be so easy. The mix of props, costumes and live projection against a colourful explosion of bits and bobs from the past four decades means the audience constantly has something new to keep their attention, and Ryder wonderfully weaves her autobiographical tale between them with charm and a wink, and a lot of silliness too. There’s such clear love for her performing partner, and Fox feels alive through her words.
While there were some technical glitches at this show, Ryder and Technical Manager Rob Athorn drew them into the show superbly. A lot of humour was brought from Ryder acknowledging that some of the theatrical conventions she was using to tell the story were a bit absurd really, so covering the odd projector malfunction fit right in. The projections were the highlight of the show, Ryder effortlessly interacting with filmed versions of her characters, and even historical footage in a way that felt a little bit like magic. While she talked about grieving and having to work through the anxiety that she wasn’t able to be a solo actor, she instantly made herself into her own double act. Ryder is not just a half, she is whole by herself, and with herself. Long may she and herself continue with their projects!
Runs until 1st March 2025
