Miriam’s Full English LIVE – Edinburgh Playhouse ★★★★

Thanks to a succession of indelible television appearances (most memorably on The Graham Norton Show), Miriam Margolyes is now, arguably, better known for being ‘Miriam Margolyes’ rather than for her considerable acting career. The likes of Harry Potter, The Age of Innocence and Babe may have filled the CV, but it is her gleefully unfiltered personality that has made her something of a late-career national treasure. The Full English, ostensibly heralding her latest literary offering, sees that character in all its candid glory.

 

The format is straightforward: Scottish comedian and Billy Connolly Spirit of Glasgow Award-winner Susie McCabe asks the questions, and Margolyes takes them wherever she pleases. The pair clearly have a shared affection and riff together seamlessly as the conversation ranges across ageing, Englishness, class, sexuality, her 58-year relationship, reality television, politics and the BBC. There is surprisingly little about the book itself beyond the significance of its title (a plate can consist of many items), but with Margolyes in such magnificently indiscreet form, it hardly matters.

 

Her unfiltered approach has caused her past headaches, and there is little evidence of mellowing at 84. Certainly, John Cleese and Arnold Schwarzenegger won’t be inviting her to any cocktail parties, while Reform and Tory voters might want to give this one a miss.

 

There is, at times, a rather wearyingly predictable resort to vulgarity. An opening salvo instructing her BSL interpreter to sign increasingly filthy words and phrases is, initially, tittersome but then goes on and on. But the evening shows real heart when the belligerence gives way to affection. Her recollections of Robbie Coltrane and Eileen Atkins are genuinely lovely, while memories of her mother reveal a tenderness beneath the profanity. Margolyes can be outrageous, but her recurring pleas for tolerance, curiosity and recognising the humanity in others give the evening substance beyond the anecdotes.

 

McCabe does a solid job as host, although she is occasionally too eager to contribute her own views, particularly during the audience Q&A. More Miriam and slightly less Susie would have been preferable. Happily, the closing passages return the focus emphatically to her guest. Rather than the customary book-tour reading, Margolyes performs Dickens, and suddenly the raconteur recedes, and the formidable actor reappears. It is a nice reminder that beneath the swearing, oversharing and gloriously indiscreet anecdotes lies a considerable dramatic talent.

 

Being Miriam Margolyes may now be her most famous role, but The Full English reminds us that she remains rather marvellous at her craft, as well as being her irrepressible self.