With a very short run of only three week at the Royal Court, Shoe Lady may only be an hour but this is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society. Yet on revisiting the script, the unacknowledged pathos of that moment has lodged in my brain.

Are you sure you want to delete this comment? Elaine tells Viv a story of unwrapping nothing and Elaine then presents her child with a birthday gift that is nothing, wrapped up. Yet, apart from a talking tree, this stylistic choice of animating inanimate objects is not sustained, leaving me unclear about the rules of the play world. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. While Shoe Lady might seem frustratingly narrow in its scope at times, it deftly captures the perverse selection of priorities deemed necessary to keep on being a ‘productive’ member of society. Stage-hands appear in yellow boiler suits and headsets to daub Viv’s bare foot with fake blood, effectively highlighting that theatre too is work and embroiled in the capitalist economy. The problem is, this victimisation falls quite flat. Shoe Lady attempts to invoke a similar state of feeling to Collapsible – the feeling of teetering on the brink of a calamity that is both deeply personal and has systemic roots.

Mostly bare and surrounded by dark walls, the Royal Court's stage seems gargantuan as it smothers Viv. This said, this brief almost-monologue is still rather significant in the grand scheme of things. Review Round Up: Shoe Lady, Royal Court Theatre Author Emma Clarendon Posted on March 12, 2020 Categories drama, News, Review Round Up, Theatre Tags E.V. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. Viv's polite approach and irony never soar to satire, and her bloodied, vulnerable foot never really packs a punch, so the piece remains like its titular character, self-centred and slightly blind to others. She becomes ‘lopsided’ herself when she loses a shoe on her way to work – her only pair. The Reviews Hub - London 10/03/2020. Crowe’s new play about a woman whose life spirals out of control when she loses a shoe. Already precarious on their runner, this is the morning they fall down when Viv draws them back to start the day. At times she seems a satire, declaring, ‘It takes real fortitude to be in essence and spirit middle class in this town’. Viv sings, ‘I’d sell my first born, before I’d under-perform’, reminding me of the parody of corporate culture at the end of The Sewing Group.

THEATRE Shoe Lady, Royal Court Theatre London Compelling account of a woman on the verge of breakdown ... and control allow her to say so much with so little and by the end of the play’s brief 65 minutes the word “shoe” has an explosive resonance. Vicky Featherstone’s production brings out the sing-song, nursery rhyme quality to the script, with its repetitions and unexpected rhymes (‘I’ve lost a shoe. The costumes – particularly the bright orange pair of shoes, worn by Viv’s boss, that peek out under the toilet cubicle door – provide cartoonish pops of colour against the dark flats. The song, not in the published script, sharpens the satire, emphasising how Viv desperately clings on to her identity as a ‘worker’ even when the ‘cruel optimism’ of capitalism has become apparent.

Crowe, Katherine Parkinson, Kayla Meikle, Royal Court Theatre, Tom Kanji On the road, she finds a homeless woman who shares her fate of only having one shoe, and she's shocked. For further information or … Create a commenting name to join the debate, There are no Independent Premium comments yet - be the first to add your thoughts, There are no comments yet - be the first to add your thoughts. BroadwayHD's October Lineup - SWEENEY TODD, A STAR IS BORN, & More!
Her encounters with the other shoeless woman Elaine (Kayla Meikle) are uncomfortable and cryptic. Shoe Lady at the Royal Court Theatre: In pictures. Shoe Lady at Royal Court review: Surreal, strange story fails to sweep us off our feet. Viv feels no solidarity with Elaine, regarding her as a cautionary tale of someone who has sunk to the bottom, yet Elaine makes it clear that she does not envy Viv’s life or her high-heeled shoe. While Shoe Lady might seem frustratingly narrow in its scope at times, it deftly captures the perverse selection of priorities deemed necessary to keep on being a ‘productive’ member of society. The general feeling, as one watches Shoe Lady, is that there's something missing.
Yet other things are passed over. To Viv, the seemingly trivial instance of losing a shoe precipitates calamity, like a footwear butterfly effect. What ensues from the incident is a bleak reflection on middle-class anxiety. Shoe Lady is at the Royal Court Theatre from 4 th March until 21 st March 2020.

E.V. Connor Campbell Photo: Manuel Harlan.

There is also a distancing quality to the style of Crowe’s writing in Shoe Lady that makes it hard to identify with Viv as a character.

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