Talking Heads – Chelsea Theatre, London

Writer: Alan Bennett

Director: Mark Beer

Two complex monologues from Alan Bennett’s 1988 Talking Heads BBC series make up this charming two hour show staged by Mark Beer’s company Dramaiocht. Both Her Big Chance and A Chip in the Sugar are exemplars of the writer’s prowess as an observer not only of character but of situation, context and nuance.

In the first, Georgie Rodgers portrays an aspiring actress (she was in Crossroads once, and an extra in a Roman Polanski film). She’s selected, after the main pick dropped out, for the role of Travis, a criminal’s girlfriend, in a tawdry film shooting in the non-glamorous Lee-on-the-Solent. Character development here is a slow burn, giving little until the final third of the piece where the weight of disappointing nights with crap and opportunist men, professional disrespect, low self-worth and pleading forced optimism really start to get to Lesley. It’s a masterclass in writing, a delight to experience the story. Rogers’ performance, like the character she plays, takes a while to get going but once in stride is very enjoyable. Some sleazy music (heavy on the bass and deeply groovy) is heavy-handed here and pushes the story faster than it should naturally progress.

In the second monologue Mark Beer, well-used to this material, having performed A Chip in the Sugar before, gives us his version of the desperately sad story again, the only one Bennett himself took on as an actor in the original series. Either an impression or a fond tribute, the accent and coy manner of Beer’s delivery is not only reminiscent of Bennett, it’s wonderfully evocative. As Graham, he takes us through the man’s closeted life with his ill mother, the danger presented by her would-be suitor Mr. Turnbull, and the return to stagnant and unhealthy codependency in which he and his mother exist once the interloper is seen off. Poignant for its upsetting portrayal of such fear-filled people, rich in the characters created with only a scattering of knowing references, it’s a lovely narration from Beer.

Both simply staged with minimal props (some chairs and additional costumes for Lesley and a chintzy living room set-up for Graham) each monologue is a chance to revel in Bennett’s writing and wit. Delivered well, without ever becoming spectacular, the two pieces are a great way to experience the classic texts.

Runs until 29 April