Talking Heads is a stage adaptation of the BBCseries of the same title created by Alan Bennett. It consists of six monologues presented in alternating programs of three each.
Programme A
;The Hand of God Antiques dealer Celia cultivates friendships with her aging neighbours in the hope she will be able to get a good deal on their treasures when they die. She is particularly pleased to sell an odd sketch of a finger for £100, only to discover it was a lost Michelangelo masterpiece, a study of the central image of the hand of God on the ceiling of the Sistine Chapel worth millions. ;A Lady of Letters In an effort to remedy the social ills surrounding her, Irene Ruddock compulsively writes letters of protests and complaints to everyone she can, including her MP, the police, and her local chemist. ;Bed Among the Lentils Susan, the alcoholic wife of a vainly insensitive vicar, distracts herself from her marriage by conducting an affair with grocer Ramesh Ramesh.
Programme B
;Her Big Chance After appearing in a series of small, unimportant roles, aspiring actress Lesley is thrilled to be cast by a West German filmmaker, until she discovers she will be appearing in soft pornography. ;A Chip in the Sugar Graham, a closeted middle-aged man with a history of mild mental health problems, finds his life upended when his ageing widowed mother, on whom he dotes, is reunited with an old flame who is his exact opposite. When he unearths a secret about the man's past, he triumphantly confronts his mother with the information and restores the status quo and his comfortable life but destroys her chance of happiness in the process. ;Miss Fozzard Finds Her Feet A lonely, middle-aged department store clerk finds her life consumed with a burgeoning relationship with her new podiatrist, a decidedly kinky fellow whose all-consuming foot fetish prompts him to pay her to model a variety of shoes while also indulging in other activities.
In his review in The New York Times, Ben Brantley noted the play "is not an unqualified success. Presented in two programs of three monologues apiece, Talking Heads provides two perfectly pleasant evenings of civilized entertainment. But... it's impossible not to feel that something precious has been lost in the trans-Atlantic translation. This is largely because no one does repression – and its first cousin, denial – like the English... the Talking Heads monologues are quiet, exquisitely modulated and veddy, veddy English exercises in dramatic irony. Raise the speakers' voices, literally or figuratively, and you risk turning them from sly character studies into comic gargoyles... Though each of the monologues holds your attention, it often seem as if the characters are being impersonated instead of incarnated. This means that while the jokes almost always go over, they can feel like cartoon captions instead of involuntary hiccups of personality. Then, of course, there's the matter of making speeches stageworthy that were devised for the confessional privacy of a television camera." In their reviews for CurtainUp, Jerry Weinstein observed, "While there's nothing to prevent a contemporary staging of these plays, they have a decidedly 1950s postwar frisson," and Les Gutman called it "a very polished and satisfying evening of theater" and added, "There's more than a little irony in the snideness with which Bennett relates these stories. One can only wonder if, like many of his subjects, he's oblivious to it."
