Prepare to be surprised, “EastEnders” fans! Michelle Collins, the iconic star renowned for her unforgettable portrayal of Walford’s resident schemer, Cindy Beale, is once again proving her boldness and tenacity, embarking on a daring new venture that would make even her famously dramatic alter ego surrender her jellied eels! Collins is set to walk away from “EastEnders” (temporarily!) to appear at the Edinburgh Fringe Festival, taking on a challenging and deeply personal role for a fee that she jokingly admits would “barely keep her in pie and mash for a few days.” This eyebrow-raising move sees her trading a “glossy, glam studio” for a “dressing room the size of a Sindy doll’s shoebox.”

Collins’s life story is as compelling as any soap opera plot. We’ve learned how a tenacious 14-year-old Collins defied convention, opting out of grammar school to pursue her passion at a junior acting school. By 18, she embraced a wilder path, running off to join a pop band called Mari Wilson and the Wilsations. Her artistic journey continued through an actor’s collective before she finally secured a coveted spot in drama college – remarkably, on her 12th attempt! This unwavering dedication to her craft has clearly remained a driving force throughout her career.

“Motorhome Marilyn”: A Tragic Vision and a Hidden Secret

In August, the North Londoner is set to captivate audiences in Edinburgh with her one-woman play, “Motorhome Marilyn.” Collins herself explains the compelling premise and her profound compulsion to bring this role to life. The inspiration struck about seven years ago during her frequent trips to Los Angeles. “I was outside the Chinese Theatre where the lookalikes hang around and I saw this woman dressed as Marilyn, wearing the white iconic halter neck dress, the platinum hair, the lot. But she was getting out of an old American motorhome – and was putting money in the meter,” Collins recounted, describing the striking visual that sparked her imagination.

“And I thought to myself ‘Wow, that’s a great visual!’” she enthused. As she observed the woman, she noticed her turn and wave, realizing, “I realised she was as old as me, not at all like the rest of the young Marilyn lookalikes in the area. Later, I was told she lived around the area. But this woman really stuck in my mind. How did she come to live this life? What was her backstory?” This poignant question became the genesis of “Motorhome Marilyn.”

Collins never managed to uncover the real woman’s story, but drawing on her past experience developing her own theatre projects, she commissioned her writer friend Stewart Permutt to create a script matching the powerful visual she had witnessed. The result is “beguiling”: the play introduces Denise, an English girl who, years ago, ventured to Hollywood with her boyfriend, hoping to strike it rich in the movies. But, as Collins reveals, “things didn’t work out as planned.” The tragic outcome of her unfulfilled dreams led her to become a Marilyn impersonator, eking out a living by working at convention centers and parties, all while sleeping in her campervan in parking lots.

This scenario is tragic enough on its own, but Collins explains that the play delves much deeper, asking profound questions about the human cost of unfulfilled ambitions: “what is the true cost of failure?” And, most intriguingly, “what is Denise’s secret that she keeps?” This hidden truth promises to be the emotional core of the play, revealing the deep trauma or choices that led Denise to her solitary, unconventional life.

A Project Forged in Tragedy: Honoring a Lost Friend

The journey to bring “Motorhome Marilyn” to the Fringe stage was far from effortless. Five years ago, the venue was booked, posters were designed – and then the COVID-19 pandemic struck. The tragedy deepened for Collins when her commissioned writer, Stewart Permutt, “contracted Covid, and never wrote again.” With a soft, sorrowful voice, the actor revealed, “And he died last year.” This heartbreaking loss adds immense emotional weight to the production, transforming it into a poignant tribute to her late friend.

Despite his illness, Permutt had insisted that the play should eventually appear, leading to writer Ben Wetherill being brought in to re-draft the “tragi-comedy survival story.” Collins reveals that the play carries another crucial theme: “We do judge people in this world.” She explains, “But we have to consider that no one sets out to become a Marilyn impersonator and live in a run-down campervan.” The play aims to challenge preconceived notions and encourage empathy. Denise is also depicted as “eccentric,” but ultimately someone “who ran away from home,” and through the narrative, “we learn what happened to her.” This suggests a complex backstory involving family, choices, and unforeseen circumstances.

Collins draws a parallel to Alan Bennett’s “Lady in The Van,” acknowledging the thematic echoes of homelessness and eccentricity. “Do you know what, I think you’re right. I’d forgotten about that play,” she admits. “This is also about someone who’s homeless, and eccentric, but once had a very different life.” The key distinction, however, is Denise’s profound obsession: “The difference (from Lady in the Van) is Denise is obsessed with Marilyn and her home is a shrine to the legend.” This personal idolization adds another layer of psychological depth to the character.

Fighting Ageism and Embracing the “Third Act”

Michelle Collins, who also had a significant role in “Coronation Street,” confesses that while she was never obsessed with Marilyn Monroe, her “fascination has amplified hugely during research.” She discovered a new appreciation for Monroe’s intellect and progressive nature: “She was far more intelligent than is suggested- she started her own production company way before others were doing it. She was political and felt strongly about civil rights and took the major studios to court. And the way she was treated was terrible. Hollywood at the time was brutal.” This newfound admiration clearly fuels Collins’s passionate portrayal.

It’s evident that Collins is deeply committed to taking on the “Marilyn” role, particularly as it aligns with her desire to tackle roles often denied to women in the entertainment industry. She critically observes, “We are living in a world that’s obsessed with youth. It’s all about Netflix and sexy young things. But I don’t think people want to see that all the time. They want to see older people perform.” She even praises “EastEnders” for its inclusion of older actors: “And that’s why I think EastEnders is particularly good for having older people at the centre of the stories.”

However, she acknowledges the harsh reality of the industry: “But when you hit your 40s the lead roles don’t come as often as they did. So, you have to fight for them.” Or, as she’s doing, you have to “create them.” Taking a leave of absence from a stable, well-paying TV soap for a low-paying Fringe show is a risk, but Collins was “determined.” “I was determined I wanted to do it,” she says with a smile. “Thankfully, after a sharp intake of breath the producer agreed.” This highlights her unwavering resolve and creative drive, a refusal to “conform.”

This “boldness” is nothing new for Collins. She was famously prepared to leave the “comfort and wage joy” of “EastEnders” years ago, only to boldly return after a 25-year break! Her character, Cindy Beale, was, incidentally, dead. “Yes!” she declares, laughing. “When I went back, I felt very much an alien and an outsider. I was scared to go back for many reasons. I worried if people would be interested in Cindy anymore. Would I still be able to play her? Would I be accepted (by the cast). And of course, yes, she was dead.” She humorously adds, “But thankfully people have now forgotten she was away for all those years in a witness protection scheme.” This underscores the incredible challenge and triumph of her recent “EastEnders” comeback, which has been met with widespread acclaim.

Collins’s voice becomes increasingly animated as she talks about performing at the Fringe for the very first time, after years of being an audience member. “You know, I don’t believe in failure anymore. I’m going to make sure I enjoy this. And blimey, I’m in the third act of my life now, (she’s 63) but I’ve got a lot of energy. And you’ve got to keep trying new things.” Her words are a testament to her resilient spirit and passion for her craft.

“The actor adds; “I needed to do this. And you’ve got to have dreams, haven’t you. Mine is to make this play success.” This poignant statement reveals the deep personal significance of “Motorhome Marilyn” to Michelle Collins, transforming it from just a role into a passion project driven by personal connection and the desire to honor a lost friend.

“Motorhome Marilyn” will run at the Gilded Balloon Patter House, Edinburgh, from July 30 to August 25, at 5:30 pm. For “EastEnders” fans and theatre lovers alike, this promises to be a deeply moving and unforgettable performance from a true acting legend.

👉 What do you think is Denise’s “major secret” in “Motorhome Marilyn,” and are you excited to see Michelle Collins in such a different and personal role? Share your thoughts below! 👇