In ‘Shirley Valentine’, set in the ‘80s with themes still (unfortunately) relevant in 2025, the multi-talented Natalie Bassingthwaighte powers through a challenging two-and-a-bit hour, one-woman show.
Two acts, two sets – it’s all quite simple on the surface. Not much changes visually – but the story of ‘Shirley Valentine’ runs deep. What audiences get to witness here is the transformation of a woman. . . A woman who once felt trapped and now feels free. In 2025, while it’s – in a sense – sad to realise stories like these hit just as hard as they did ‘way back when’, it’s also beautiful and emotional to witness them.
Bassingthwaighte has to tackle a Liverpool accent as Shirley. It’s not easy – the accent has many bizarre nuances, and though it’s not quite fully-realised here, Bassingthwaighte’s emotional acting performance forgives any shortcomings in her speech (and some clear nerves which show themselves in the form of stumbles over a few words throughout the performance).
Opening night jitters aside, ‘Shirley Valentine’ is quite a thrill. She unravels, reels things back in, unravels again, and eventually spreads her wings. The writing is completely fantastic, with countless comedic beats which keep audiences engaged and on board.
Image © Brett Boardman
The audience essentially plays the role of Shirley’s wall: the outlet for musings of her heart and soul, and the vessel of her deepest thoughts and feelings. It’s through these musings that we learn of her resentment, and her longing for something, somewhere and someone new.
Bassingthwaighte hits all the notes – she’s hysterical, angry, wounded, hopeful, and ecstatic – and we believe it all.
Save for some opening night jitters, ‘Shirley Valentine’ is a triumphant experience. Natalie Bassingthwaighte shines and charms as its titular character, and you find yourself rooting for her from the moment she enters her kitchen.
