The Rise and Fall of Little Voice

Published Wednesday 2 May 2007 at 15:40 by Julie Watterston

Written originally to showcase the vocal impressionist talents of Jane Horrocks, Cartwright’s story of a diva in the making is a valuable performance vehicle for any actress brave and talented enough to take up the challenging role of Little Voice.

Kelly Price is no exception and in the Watermill’s production her introverted anxiety as LV is a perfect smokescreen which gives no inkling to what lies beneath until the script demands her to prove her vocal excellence.

It is a strong cast with Price setting the benchmark that challenges the quality of every performance. Lynne Pearson as LV’s sluttish, alcoholic mother rises to and exceeds the target with an exhausting energy that makes her neurotic character totally credible, and Alison Garland is her perfect foil as the overweight, simple-minded neighbour Sadie May, whose gentle inanity treads a balance between comedy and tragedy.

Barry McCormick is highly recognisable as a dubious clubland scout, together with Nicholas Lumley as club owner Mr Boo, both seeking that eluded talent that will make their fortune. The shy telecoms engineer who befriends LV is played with comic reservation by Mark Bixter, and steals some of the best moments of the show.

Taking into account the small performance space at the Watermill, designer Paul Wills has achieved a feat of ingenuity in creating a set that depicts both the upstairs and downstairs of a Lancastrian working class home, as well as the ginnel outside, and even doubles as a workingmen’s club stage.