Talking Heads. Scunthorpe Little Theatre Club, Plowright Theatre, Scunthorpe. 16 September 2025

Alan Bennett’s Talking Heads remains one of the great achievements of contemporary theatre: intimate, finely observed monologues that strip away the gloss of everyday life to reveal the wit, sadness, and loneliness lurking beneath. Performed well, these pieces can feel as fresh and alive today as when they were first written. In the hands of Scunthorpe Little Theatre Club at the Plowright Theatre, directed by Sue Dolby with support from assistant director Chad Lyon, they became exactly that — a captivating, deeply human evening of theatre that will linger long after the final bow.

The programme offered three of Bennett’s most memorable pieces: A Chip in the Sugar, A Woman of Letters, and Her Big Chance. Each of the three actors gave nuanced, utterly absorbing performances, inhabiting their characters with such conviction that the audience was drawn into their lives completely.

The evening began with A Chip in the Sugar, Bennett’s bittersweet story of Graham, a middle-aged man whose quiet, fragile existence is threatened when his mother rekindles an old flame. Andy Pontin gave a performance of rare delicacy and power. He captured Graham’s fussy, neurotic surface with pinpoint comic timing, but never allowed the humour to undercut the genuine sadness at the heart of the character. Pontin’s subtle use of expression — the flicker of panic in his eyes, the small gestures of awkwardness — conveyed volumes. He made Graham both amusing and heartbreaking, a man whose life is precariously balanced on a thread.

The second monologue featured was Her Big Chance, which saw Nikki Pontin take on Lesley, the eternally optimistic actress who believes her latest role might finally be the one to launch her career. Pontin was superb: energetic, charming, and heartbreakingly vulnerable. She captured the wide-eyed enthusiasm of Lesley’s storytelling with irresistible warmth, but as the story unfolded, her careful shifts in tone exposed the gulf between Lesley’s hopeful interpretation and the more unsettling reality. Pontin’s performance will have the audience laughing one moment and holding their breath the next — a wonderfully judged piece of acting that will leave a lasting impression.

Finally, in A Woman of Letters, Amy McKenzie was outstanding as Irene, the self-appointed moral guardian whose obsessive letter-writing lands her in trouble. This is a character who could easily be played as a grotesque, but McKenzie gave her texture and complexity. There was warmth and humour in her delivery, drawing laughter from the audience at Irene’s pompous indignation, yet she gradually revealed the loneliness and disconnection underpinning Irene’s crusades. Her performance was a masterclass in Bennett’s brand of comedy — a laugh that quickly catches in the throat when you realise the pain beneath.

What ties these performances together is the clarity and vision of the directorial team. Sue Dolby and Chad Lyon opt for a minimalist approach to staging, a decision that proves inspired. Rather than cluttering the space, the stripped-back set design allows the actors and Bennett’s words to do the work. Subtle variations in costume, and lighting gave each monologue its own identity without distraction. This economy of design ensures that the focus stays firmly where it belongs: on the characters’ inner lives.

Equally effective is the directors’ use of physical levels and movement. With monologues, the risk is always that the performer remains too static, but here there is a careful balance between stillness and variety. Each actor uses the stage dynamically, shifting between sitting, standing, and moving through their space in ways that feel both natural and purposeful. This not only adds visual interest but also mirrors the emotional shifts of the text, to keep the audience visually engaged as well as emotionally absorbed. The result is a production of real intelligence and sensitivity.

The performances are finely tuned, the direction is confident and understated, and the overall effect is a reminder of the enduring brilliance of Bennett’s writing. Scunthorpe Little Theatre Club’s Talking Heads is not just a faithful revival but a beautifully judged exploration of human vulnerability, humour, and resilience. It is, in short, an evening of theatre that any company would be proud of and that any audience will be lucky to experience. The show opens tonight and runs for three nights. I urge you to get tickets and not to miss this treat.

Andy Evans 17 September 2025