The Making of a Theatrical Masterpiece
Simon Callow has revealed fascinating behind-the-scenes details about directing Pauline Collins in Willy Russell's celebrated one-woman play Shirley Valentine during its 1988 run at London's Vaudeville Theatre. Despite Collins' seemingly effortless performance that captivated West End and Broadway audiences alike, Callow discloses that the acclaimed actress found the role enormously challenging behind the scenes.
From Struggle to Triumph
According to Callow, Collins approached the production with significant apprehension, despite recognising Russell's work as a masterpiece. Rehearsals proved particularly demanding for the actress, who described herself as a "superb light-comedy actress" but initially struggled with the play's specific requirements.
Callow implemented unusual rehearsal techniques, forcing Collins to tell a new joke every day - something she found torturous but was second nature to her character Shirley. Another significant challenge involved mastering the art of convincingly cooking egg and chips while delivering the monologue that traces her character's life journey.
The director understood that both the comic timing and the cooking routine needed to become instinctive before Collins could fully embody the three-dimensional woman "telling us deep truths about her life and the lives of millions of other women."
The Turning Point
Even playwright Willy Russell began expressing doubts during the difficult rehearsal period, remarking to Callow: "She'll be fine, but she won't be Shirley." However, everything changed during the first preview when an unexpected technical failure revealed Collins' true connection to the character.
When the stage lights suddenly failed after just three minutes, Collins improvised from the darkness: "Hey! Wha's going on? I paid me electric bills, right up to date." The audience responded with huge laughter, appreciating her spontaneous reaction.
In that moment, Russell grasped Callow's arm in the dark and whispered urgently: "She's got it. That's pure Shirley. There's nothing to worry about."
Beyond Shirley Valentine
Callow also directed Collins in Sharman Macdonald's play Shades at London's Albery Theatre in 1992, where she demonstrated her impressive range by portraying a widow navigating complex relationships with her son and potential new partners. Despite critical acclaim and full houses, Collins reportedly disliked the experience.
The director recalls Collins as "irresistible: kind, outrageous, sexy, loving, wickedly funny" in person, remembering their first meeting when she bluntly asked if he was gay before briskly moving past the subject.
During both the London and New York runs of Shirley Valentine, Collins "spread love and naughtiness throughout the theatre", creating a party atmosphere that even won over Broadway's seasoned backstage crews. Her departure from the New York production left a noticeable void, with the theatre atmosphere becoming "functional and impersonal again" after she left with her Tony award in her luggage.
Though Callow never successfully persuaded her to take on other challenging roles like Juno in O'Casey's Juno and the Paycock or Linda in Death of a Salesman, he maintains that her work as Shirley Valentine and her numerous screen performances represent "gift enough" for any audience.
