The Stage

Mum’s the Word

Published Thursday 20 May 2010 at 11:08 by Susan Elkin

This evergreen show, first seen in Europe in 2002 having begun life in Canada, is effectively a series of loosely linked monologues by five formerly professional women now at home with children.

It shouldn’t work theatrically because of its bitty narrative. Yet it does. The honesty and accurate, witty but often poignant observation ensure that the mostly female audience is rocking with laughter one minute and catching its breath in tearful agony the next. Empathy is what it’s all about.

Kaye Quinley, filling in for the indisposed Bernie Nolan until the full-time Gillian Taylforth is rehearsed in the role, captures Robin’s puzzled, wry, bitterness and the agony and ecstasy of childbirth beautifully. Mandy Holliday’s ‘shit management’ sequence is hilarious, as is her puppetry work in conversation with her husband. Her naked anguish at the swimming pool when her little boy goes AWOL is fun too.

Tracy Shaw’s faintly bohemian Jill, half of whose brain washed away with the placenta and the other half leaked out of her nipples, is an entertaining character and Sally Ann Matthews’ compelling account of the early months of her premature son’s touch and go life is very moving, contrasting nicely with her very funny, manic rocking and deadpan earnestness as she tries to lull a child to sleep. Susie Fenwick is good value too, as the very capable but deeply insecure Deborah with the cut glass accent and a good line in put-downs.

Together these five crisply represent almost every aspect of motherhood, every point of view, every longing and every anxiety. It’s a show about universal Western female experience which is why it’s so successful, although I don’t think the quasi balletic sequences add much and the music is superfluous.