Willy Russell has an extraordinary talent for transforming the most ordinary characters into unique and unforgettable personalities. Next to Mrs. Johnstone from Blood Brothers, Shirley Valentine stands out as one of his most iconic creations. In this latest production at the Everyman Theatre, Shirley’s journey from kitchen sink monotony to sun-drenched self-discovery is brought to life with a vibrancy and emotional depth that makes it as relevant as ever.

From the moment the lights come up on Katie Scott’s perfectly realised 1980s fitted kitchen, the audience is drawn into Shirley’s world. The set is sublime—repetitive and unchanging, much like her life, reinforcing the daily cycle she longs to break free from. Every detail feels deliberate, from the everyday essentials to the flickering kitchen light, seemingly symbolising the motions she goes through on a daily basis. This carefully constructed environment makes her eventual escape to a world bathed in golden sunshine all the more striking.

Helen Carter’s performance is nothing short of exceptional. A natural Liverpudlian storyteller, she effortlessly adopts the voices and mannerisms of the characters in Shirley’s life, making them feel as real as if they were standing beside her. Whether she’s embodying her dismissive husband Joe, her snobbish neighbour, or the free-spirited Costas, each portrayal adds depth and humour to the narrative. Carter has long been a standout performer, and here, she excels once again- delivering a Shirley who is both refreshingly modern and yet entirely faithful to Russell’s original vision.

Stephen Fletcher’s direction is impeccable. Assisted by Jessica Meade, they ensure that Shirley’s character development is not just performed but felt. This version of Shirley is bold, her transformation tangible. The layers of her journey unfold gradually—each moment, from frying actual chips and egg in her floral apron to reclining in her luxurious floral silk robe whilst living out her dreams, is carefully considered. The contrast between these costumes (also designed by Scott) speaks volumes; the stiff, man-made fibres of her old life give way to a soft, flowing fabric, gloriously mirroring her shift from restriction to freedom.

Joshie Harriette and Kate Harvey’s lighting and sound design, respectively, are equally seamless. The exposing overhead lighting of the kitchen scenes with the natural glare of the sun peeking through the slatted blinds distinctly contrasts the Mediterranean warmth of her new life which bathes the stage. Transitions are smooth and subtle; they’re executed beautifully and ensure that the audience remains transfixed through every emotion-felt beat. Even the occasional interruption from a rogue mobile phone in the audience couldn’t break the spell—such is the power of a truly captivating performance.

Despite being written in the 80s, Shirley Valentine remains as relevant as ever. It speaks to anyone who has ever felt trapped by their circumstances with their ambitions clipped by the weight of others’ expectation. It’s a play about rediscovering the joys of life and being daring enough to take a leap towards something better.  This production feels less revival and more reinvigoration- back home in its birthplace. It reminds us why Shirley Valentine continues to resonate almost forty years after her first introduction and, if Shirley herself were in the audience, I’ve no doubt she’d turn to the wall and say, ‘Isn’t it marvellous?’

Shirley Valentine plays at the Everyman until 29th March. Further information and booking can be found here.

Tickets received in exchange for an honest review.

Photography by Andrew AB Photography.