Currently celebrating its fifth anniversary treading the boards, the show returns to the UK for another tour, reuniting audiences once again with their fondest memories of the revered comedian. Guillermo Nazara chats the man in charge of this one-woman(ish) act — to learn more about the development of the piece and how he’s managed to soup it up across the years.
Next April, it will be 10 years since we lost this absolute national treasure. Does that fact make the show’s return more special in any way?
Absoutely. During our six years of touring the UK and meeting other fans of Victoria –just like myself and my pianist, Michael-, it’s striking what a hole she has left in so many of our lives. People tell me they watch Dinnerladies daily for comfort and turn to her work in general whenever they are down. There is also a big connection with other lost loved ones; mothers and grandmas who we used to enjoy Victoria Wood with when we were younger. It is a great honour to have such loyal fans tell me our show was like having her back for a couple of hours.
How did the idea for the show come about in the first place?
Soon after Victoria’s death, I met with Michael to raise a glass to our heroine; he has been playing her songs for me on piano in cabaret for almost 30 years! During our chat, it became apparent that there are legion of gay men who grew up in the 80s and 90s with her wit and wordplay as the background to our lives. Perhaps a modern version of Polari, almost. We quickly realised this was universal, as a shared sense of humour will often be the reason we ‘find our friends’ in this world. If a stranger at a party knows the response to ‘RED CABBAGE HOW MUCH?’, then they have to become a pal for life, right?
The show intertwines Victoria’s legacy with your own experiences through it. Where does that special connection with her stem from?
I think Victoria often spoke to those on the outskirts of life. People who have been ‘othered’ for whatever reason. She was more interested in a potato-faced character in an elasticated skirt than someone thin, glamorous, and successful. If you’ve been marginalised, you will quickly get where Victoria was coming from.
After 5 years running, is it still daunting to pay homage to such an icon?
Remembering the words is daunting! It should get easier, but it doesn’t. People love to sing along, which I don’t like to discourage, because they feel just as much ownership over the work as I do, I’m sure. It does make it harder to concentrate though! One early preview, we had Mark Gatiss (a big fan who worked with her in the League of Gentlemen movie and spoke at her BAFTA special) and Graham Seed (her long-time Rep Company Member, appearing often in VWASOTV as well as Dinnerladies) both in the audience with house lights on throughout so I could see them very clearly. THAT was daunting!
Has the show evolved in any way during that time?
Oh, yes. I’m still adapting, and hopefully improving, lines in the script today. Updating jokes as Prime Ministers change –we’ve had four so far-, acknowledging what part of the country or just what time of year it is. Cabaret is an art-form of the here and now, and whilst the VW material is nostalgic and unchanged; my own words and interactions with the audience need to speak to the present day.
What other challenges have you found both in the delivery of this piece?
Other than failing to deliver a good Lancashire accent, very few. There is such a huge amount of admiration for Victoria, that people mostly come already filled with love and they’re ready to share it. Sometimes people tell me after that they were very apprehensive about a tribute to their idol, and I always tell them I’d feel the same if I saw a show like this advertised. My job is to facilitate a love-in for a missing friend. It’s not about me any more than it is about all of us fans of Victoria and her wonderful, wacky world of bunions, bourbons, and bloomers. When people tell you that you’ve just told their life story onstage –whether they be a 75yr old woman or a 30yr old man–, that is humbling.
What has the development process been like? Has anyone linked directly to Victoria been involved in any way?
As well as Gatiss and Seed, we have been delighted to meet Deborah Grant (Pat & Margaret, VWASOTV) and Sue Devaney (Dinnerladies) after performances. Kate Robbins (I’ve come from Urmston) has sent a signed photo and her love; Maxine Peake, Maureen Lipman and Shobna Gulati have celebrated our Victoria Wood-inspired merch online; and we have had Victoria’s own brother in the audience, who said he enjoyed it very much. Meeting her primary school chums is always a particularly touching thing — even the chap who was supposed to be in the original cast of Good Fun but got sick and couldn’t do it. He still has a cassette tape of the songs which ‘Vicky’ gave him to learn from. The Victoria Wood Foundation receives a portion of profits from the show and merch annually, and her musical director, Nigel Lilley, has gifted me sheet music handwritten by Victoria, which of course is now in a gold frame in my home!
What do you think Victoria would say if she attended one of your performances?
Sue Devaney told us that ‘Vic would have loved this’ when she saw us in a jam-packed underground cabaret bar in the heart of Manchester. I’ll take that.
Why come see Looking For Me Friend?
Come because you love and miss Victoria — you’ll find your tribe in that room with us. Come to forget what is going on in the world and transport yourself back to the eighties and a time of innocence and white dog poos. Come cos the price of a ticket is cheaper than popping the heating on for half an hour. Come because you’ve had your beret trimmed and need to show it off. We’d love to meet you.
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Production pictures credit to Alan Lyall.
Looking For Me Friend will tour from 6 September 2025 to 18 April 2026. Tickets are available on the following link.
By Guillermo Nazara