REVIEW: TALKING HEADS by Alan Bennett at White Bear Theatre 7 - 11 April 2026
'Like visiting the Crown Jewels' ★★★★
Talking Heads was a phrase traditionally used by TV producers to describe a particular type of dull, static reporting that involved a chatting head. Alan Bennett turned the derisive phrase on its head with a series of seminal monologues that showed how intimate and affecting this format could be. The landmark BBC series (1988) featured luminaries such as Thora Hird and Maggie Smith and was repeated with a new cast during lockdown in 2020. This landmark of British drama is even on the A level and GCSE syllabuses.
Two of the Talking Heads are now on stage in Kennington’s White Bear, in a show personally endorsed by Bennett. Theatre is the home of monologues and soliloquies; intimacy is something theatregoers expect. So, while Talking Heads is not as radical in this context as it once was for television, this mini Bennett Fest represents something of an occasion for South London—a bit like going to see the crown jewels.
Her Big Chance features Lesley, originally played by Julie Walters in 1988 and Jodie Comer in 2020; and Soldiering On, formerly Stephanie Cole and Harriet Walter. Into these characters slip, bright-eyed Georgie Rodgers as Lesley, a young actress at the beginning of her career and elegant Rowena Bentley as Muriel, a widow navigating new life. Even though both performers fluffed their lines several times, in the Bennett context, this somehow added to the vulnerability and poignancy of the characters.
Directed by Emily Oulton, the two selected pieces make pleasing bookends. Both feature good, kind women who don’t wish to upset the status quo or feelings of others. Because of their inherent, trusting natures—perhaps gullible, perhaps delusional—they become the focus of unscrupulous, exploitative men. Lesley, an actress, who takes every tiny part that comes her way finds herself cast in a soft porn movie. Muriel, feeds the guests at her husband’s funeral, while her scamming son helps himself to the family fortune.
While a monologue or outpouring of story can render an audience passive and stultified, these pieces cultivate active audience engagement. As we listen, we put the puzzle together and know more about what's going on than the characters, close to screaming, pantomime-style: He’s Behind You! No, Lesley, the ‘art house director’ is not interested in your character development; he just wants to see your knockers. No, Muriel, please don’t make any big decisions while you’re grieving - and did you realise your neighbours are vultures?
The sophisticated, all white domestic space created by George P Martin is far from the provincial genesis of the stories. A gauzy sheer curtain opens and closes around the stage to make ghostly spectres of the characters, perhaps speaking to that which remains hidden. Co-ordinated with all-white and all-black lingerie inspired costumes, it’s a far cry from working class Leeds, but perhaps also says something about the pretensions, petty prejudices and aspirations of the characters. The transition between the two pieces feels awkward. Each monologue is around 35 minutes and currently broken by an unnecessary interval, a musical device would probably work better utilising the effective, creeping sound track of Fergus Carver.
An astute observer of humanity, Bennett’s writing allows audiences to feel deeply. An undercurrent of dreadful pathos runs beneath the endearing, witty text while the best and worst of humankind is here. Between the stories characters tell themselves and the realities they inhabit, is the absence of companionship or true friendship that makes you want to weep; the characters remain alone, their stories circulating in their own heads. Watching and listening to Alan Bennett’s Talking Heads is like working through a delectable box of chocolates. Among the sweetness, and delight, are surprises, unexpected flavours, some bitter, some sharp and some that make you want to gag.
Talking Heads
White Bear Theatre, Kennington
7th - 11th April 2026
Tickets
£17 Standard
£13 Concessions
Please note: Tickets will include a £1.00 booking fee.
Performance Times
Tue - Sat | 7:30pm
Running Time:
1hr 40min with a 15min Interval
The Company
Georgie Rodgers
Lesley in 'Her Big Chance'
Rowena Bentley
Muriel in 'Soldiering On’
Emily Oulton
Director
Genevieve Papadopoulos
Production Stage Manager
George P Martin
Set and Costume Designer
Kazue Horimasu
Assistant Director
Fergus Carver
Sound Designer
