A howling success: Wolf Whistle review


Wolf Whistle
Dir. Katherine Weight

Wolf Whistle is Joanna Alpern’s latest play in St Andrews, though for the first time she did not actually direct the piece. Directed incredibly well by Katherine Weight, Wolf Whistle is a monologue play, here featuring Cara Mahoney as Amanda, an uptight wannabe medic; Charlotte Kelly as Becca, a schoolgirl playing a dangerous game; and Fay Morrice as Clare, a middle-aged bus driver. The basic premise is that all three women have stopped getting their period, yet the show itself moves beyond the fundamental plot line to explore something deep, nuanced, and highly charged – what it means to be a modern woman. In a series of three intertwining monologues, the play moves from woman to woman, with meditations on cats, small-talk, and nights out and how they all ended up in the doctor’s office at the same time. The tech and set were both well done and simple enough to let the power of each of the monologues and the actors delivering them shine. Though the actors stayed in their runway slice of the stage throughout the entire play, the staging worked well and helped to keep the boundaries between each of the characters clear.

The three actors in this show were absolutely incredible. Cara Mahoney was mesmerising as Amanda, an unsettling character not in Mahoney’s usual sphere of parts. Charlotte Kelly played the raunchy schoolgirl Becca with a great deal of confidence, portraying a girl beginning to realise the extent of her own power – whilst also wondering if that power was real after all. The continued references to Circe and her island of beasts that used to be men was a great touch in Becca’s sections as well. Fay Morrice as Clare was also a delight, using humour to portray a woman who never really seemed to stand up for what she wanted, and consequently one who wasn’t sure what she wanted at all.

Tech was across the board great, with lights switching from actor to actor as they spoke, making the action seem much more immediate, and weaving all three disparate monologues together into a smooth, fluid show. Well done to all involved. Considering this show is going to the Edinburgh Fringe this year, I’m even more thrilled to see what happens with it next.


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