Some Girl I Used To Know
Denise van Outen’s new one-woman play with music is a kind of theatrical selfie. Co-written with Terry Ronald, Van Outen plays a high-flying lingerie queen reflecting on life after she’s suddenly thrown off-kilter when an old flame tempts her to a fling on the side. Will Stephanie Canworth secretly succumb? Or will she count her blessings and just carry on with a business career and a marriage that are rapidly losing their mojo?
It’s soon obvious that Stephanie’s snapshot recollections of her rise from shy Essex lass embarrassed about wearing cheap knickers to top lingerie seller constantly overlap with bits of Van Outen’s own history, which brings plenty of personal and emotional depth to what could so easily turn into a mid-life nostalgic wallow.
Overall, Michael Howcroft’s slick production, staged on Morgan Large’s swanky hotel set, presents an unsentimental portrait of a strong woman teetering between a lost past and a messy present, balanced and bolstered by a song list of power ballads – Steve Anderson’s gorgeous remixes of 1980s and 1990s hits by the likes of Culture Club, Thompson Twins and Soft Cell.
Looking fit and fabulous, whether glammed-up in her Jimmy Choos or dressed down in a pair of old lounge pants, Van Outen’s straight-to-audience delivery means it’s never quite clear where Stephanie begins and Denise leaves off, which is a major part of the show’s appeal. But it’s her soaring vocals and superbly delivered lyrics that provide the beating heart to this girl’s story.
- West Yorkshire Playhouse, Leeds
- February 5-8, then touring until March 19
- Authors: Terry Ronald, Denise Van Outen
- Director: Michael Howcroft
- Producer: Runaway Entertainment
- Cast: Denise Van Outen
- Running time: 1hr 45mins
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.