Month: May 2024

REVIEW: Rollerghoster

Published on by Claudia WestLeave a comment

Rating: 3 out of 5.

A campy, clowny ride. 

I must admit I was not familiar with the character Clinton Baptiste prior to booking in to see Rollerghoster, but a quick search told me actor Alex Lowe’s ‘Medium Clairvoyant’ creation first appeared briefly on Peter Kay’s Phoenix Nights, but found a cult following and continued to develop in podcasts, YouTube, and live appearances for the next 20 years.

This cult following were out in force as I took my seat in a packed Leicester Square Theatre. Mike Cox ably warmed up the crowd and after a brief interval Baptiste arrived. 

If I was in any doubt of what I was in for Lowe’s entrance with his white blond pompadour hair, his campy opening dance with silky wings and cod glances at the audience, followed by a quick costume change into a sparkly suit left me in no doubt of what Clinton Baptiste was about. 

This terrible-at-his-job ‘clairvoyant medium psychic’ takes himself a little too seriously, makes dated references, gives nonsense ‘readings’ to his audience, and doesn’t care about being PC. Lowe, on the other hand is obviously very good at his job, and has cleverly shaped the night to give his audience lots of different kinds of laughs. The crowd work is strong. I was glad to be a bit further back as the first few rows get picked to ‘work with him’. In return Lowe provides well-honed jokes and put downs in the format of messages from beyond. I giggled the most at his physical comedy, and enjoy his silly renditions of a song while channelling an audience members’ long lost love. 

Less enjoyable things were his regular leaps into a high pitched screechy voice. This was initially amusing but really began to grate as the show carried on. His discussion of how he chose to address his inuit sprit guide was mildly uncomfortable, and just seemed uneccessary. A returning bit where he argued with an unseen backstage crew member never really paid off.

If you are a fan of this type of comedy or Clinton Baptiste himself this show will of course be a massive hit. The show sold out at Leicester Square and fans should definitely book in for the tour.  However, if you (like me) are not previously familiar with Baptiste, Alex Lowe’s cleverly devised and structured show is a campy, clowny and light-hearted Rollerghoster ride. 

REVIEW: Dinner with Gatsby

Published on by micaandersonLeave a comment

Rating: 3 out of 5.

The interpretation of the story is certainly intriguing, if not fully formed.

With F. Scott Fitzgerald’s ‘The Great Gatsby’ having now entered public domain, the theatre world across the pond has begun jostling to put out their own stage interpretation of the enigmatic novel about the American Dream. Work in Progress Theatre & GKT Musical Theatre Society’s own take, ‘Dinner with Gatsby’, reimagines the events of the novel over the course of an evening at Jay Gatsby’s mansion. An intimate dinner is taking place for Nick Carraway’s 30th birthday, and the guest list is small but significant. There’s who you would expect – Nick’s beautiful cousin Daisy, locked in an emotional affair with the mysterious millionaire Gatsby while her abusive husband, Tom, looks on. Jordan Baker, Daisy’s best friend and cynical singleton. A surprising addition to this cast is Myrtle Wilson, Tom’s lover – in the novel, she never visits the eponymous Gatsby mansion. Another element of the story not covered in the novel? Nick’s secret love for Gatsby, and Jordan’s secret love for Daisy. As the relationships are established and the champagne flows, it’s sure to be an evening full of fireworks.

Erica Hartley, Archie Alexander, and Joe Ash’s interpretation of the story is certainly intriguing, if not fully formed. The queerness of the characters of ‘The Great Gatsby’ has been oft-discussed, but not oft-performed. Accompanied by original songs by Hartley and Alexander, the cast attempt to flesh out this alternate storyline. Charlotte Flynn plays a formidable Nick, riffing off of Rheanna Arbon’s green-suited Gatsby and Madeleine English’s sensitive Jordan expertly. Georgia McNeill, while an impressive soprano, sometimes gets lost in her interpretation of Daisy – at most points the ingenue that wilts under the oppression of her husband’s control, only to make a sharp – and confusing – 180-turn into cruelty towards Myrtle near the end of the second half. Sendhilen Ramen, who plays the aforementioned oppressive husband Tom, hits the marks of his character’s violent nature well, but comes across as wooden in some of his monologues. An unexpected star, however, is Mariam Can’s Myrtle – decked out in a sparkling gold gown, her strong belt carries her character beyond just being the other woman. The act one finale, in which she and Daisy sing a rousing duet about their love of Tom, is a showstopper.

Indeed, the original music is the best part of this production – which is why I found myself disappointed to not hear more of it. With a four piece band expertly directed by Rohan Godfrey and Maria Hallows, the clever lyrics and strong vocals are drowned by some awkward traverse staging and scenes that drag. I was very impressed by the quartet in which Gatsby, Daisy, Jordan and Nick all sing about their love for one another, and a duet at the end between Nick and Jordan in which they find comfort within one another about their mutually misunderstood sexualities. This aspect of the performance very much piqued my interest – and so I wish it had been more of an element in the plot. All in all, the cast and crew are clearly passionate about the show that they put on – I would love to see more original work centering queer stories from them, but without the clunky 1920’s context.

In Conversation with Kailey Marshall

Published on by Tabitha JamesLeave a comment

We sat down with Kailey Marshall the New York-based composer and lyricist behind Songs for Slutty Girls. This new musical explores the ecstasy, pain, and hilarity of sex through a year in the life of one woman. It receives its UK premiere in a staged reading at The Other Palace on Saturday 8 June, directed by Tania Azevedo  (&Juliet,  Heathers, But I’m a Cheerleader).

What inspired you to write Songs for Slutty Girls?

I was 20 years old and went to a concert at Joe’s Pub for a male composer who wrote a lot of silly/funny songs about sex from the male perspective. I thought I could write something from the female perspective that might be funnier, so I started writing it a few weeks later. I really took from my own personal life in this show, and it’s been so fun to continuously rewrite it as I learn more about myself. But looking back at some of those early songs, I’m really proud of 20 year old me for taking pain, heartache, and embarrassing stories and turning them into something I can be proud of. I wanted other women like me to see themselves in these songs. 

Can you tell us a bit about how you chose the title?

Honesty, it came to me right away. I’ve always had a thing for alliterations, and the word slut felt like such a powerful and taboo word to me at the time. I very much wanted to make it feel powerful, like a badge of honor. The word has since been reclaimed in a lot of ways, and I’m so happy to see it. I wanted women who loved sex, or were scared of sex, or who had complicated feelings about sex to get to reclaim sex and the word slut for themselves. 

How would you describe the show in five words? 

A slutty, damn good time.

What style of music do you write in for Songs for Slutty Girls?

I have always loved pop/rock way more than musical theatre, and shows like Rent & Once really spoke to the musical language I’ve always admired. So this show is FULL of songs that feel like they can be on the radio, with an extra pinch of deep seeded story telling. In fact, one of the challenges I had for myself when writing this show was to try and write each song in the musical language of female pop star I loved. 

What can audiences expect from the show? 

You can expect to dance in your seat, consider texting your ex and then think better of it, and remember what it’s like to be 21 and not know what the hell you’re doing. The biggest thing I want people to take away from this show are that they’re not alone and that musical theatre can be really, really fun & slutty. 

What excites you most about the performances at The Other Palace?

I’ve never been to London before, and I’m SO excited to get to meet the artists of London and collaborate with them. I’m also pumped to really put the show on its feet for the first time (sans music stands) and explore with the actors. I truly can’t wait! 

Songs for Slutty Girls
The Other Palace
Saturday 8 June
Performances at 3pm & 8pm
https://theotherpalace.co.uk/songs-for-slutty-girls/

REVIEW: Twelfth Night

Published on by Lucy BoardmanLeave a comment

Rating: 4 out of 5.

A hilarious show full of miscommunication, meddling, and mischief, set in a stunning venue at Regent Park’s Open Air Theatre.

Very few theatre shows are born great, however some do achieve greatness, and I’m sure some do probably have greatness thrust upon them; Twelfth Night at Regent Park’s Open Air Theatre is a great show, set in a stunning venue. As the sun sets over this gorgeous outdoor theatre the audience enjoys a classic Shakespeare comedy. 

With excellent dinner options, ice cream for before the show whilst it is warm followed by hot chocolate and tea at the interval as it begins to get chilly, it is a fantastic setting, although cold once the sun has set. I’d recommend bringing a blanket. The lighting design creates an atmospheric scene throughout, particularly in the second act as it grows dark. The set is simple yet effective, with lots of varying entrances and exits providing interesting perspectives from different characters and subsequently adding to the confusion within this play.

Twelfth Night is an amusing production with the director implementing a great use of physical comedy to bring the text to life, particularly from Anita Reynolds as Maria, Michael Matus as Toby Belch, and Matthew Spencer as Andrew Aquecheek. Spencer is especially funny as the besotted, somewhat bumbling, Sir Andrew who remains out of the loop and unaware of the various subplots surrounding him, and Maria, alongside Toby, create an amusing duo causing chaos. Reynolds’ comedy was excellently supported by the actor-muso chorus quartet of Sally Cheng, Katherine Toy, Jon Trenchard, and Harry Waller. They brilliantly play the score, with Trenchard acting as Musical Director, and bring humour to scenes. 

Evelyn Miller playing Viola is particularly engaging, portraying the emotion, comedy, and conflict of the character brilliantly, whilst Anna Francolini as Olivia is also very amusing and uses silence and facial expressions brilliantly to create humour. Orsino, portrayed by Raphael Bushay, opens the show immediately drawing the audience in, and interacts brilliantly with Miller. Malvolio played by Richard Cant is superbly comedic and Michael Matus performing Toby as a drag queen is an exciting portrayal that brings lots of energy to the production. Antonio and Sebastian’s relationship, displayed by Nicholas Karimi and Andro Cowperthwaite, is openly portrayed as full of love and passion, as well as conflict and misunderstanding, which creates another perspective to the show and contributes to the confusion.

Regent Park’s Open Air Theatre’s production of Twelfth Night is not a musical but has an interesting use of song throughout, with Francolini as Olivia and Julie Legrand as Feste singing solos and some use of the actor-muso quartet, although I would enjoy further ensemble numbers. The end chorus when all characters come together and sing is quite beautiful. 

The costume design by Ryan Dawson Laight is excellent, particularly Feste’s gorgeous blue suit and corset, Viola’s understated but beautiful outfit, and Maria’s patterned, colourful ensemble.

This story is full of miscommunication, meddling, and mischief. Although the first act has moments of confusion as lots of scene setting and character introductions take place, it is hilariously brought together, or rather unraveled, in the second act as everyone reconvenes with mistaken identities, marriages, and reunions.

This is an exciting contemporary interpretation of a classic show that uses inspiration from queer culture and 80s fashion to bring Shakespeare’s themes of gender, identity, sexuality, love, and comedy to a modern audience. This is a great evening at an amazing venue, in the heart of Regent’s Park.

Creative Team:

Set Design: BASIA BIŃKOWSKA

Fight & Intimacy Direction: RACHEL BOWN-WILLIAMS & RUTH COOPER-BROWN FOR RC-ANNIE

Costume Design: RYAN DAWSON LAIGHT

Wigs, Hair & Makeup Design: CAROLE HANCOCK

Season Associate Sound Design: JAMES HASSETT

Movement Director: DANIEL HAY-GORDON

Casting Director: LOTTE HINES

Associate Director: CORY HIPPOLYTE

Director: OWEN HORSLEY

Composer and Musical Supervisor: SAM KENYON

Lighting Design: AIDEEN MALONE

Sound Designer: MAX PAPPENHEIM

REVIEW: Suba Trio

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

Suba Trio’s performance is ethereal, elevating, and exquisite, a testament to the profound connections forged through years of musical collaboration. Their music is not just sound, is the science of sound. 

On Saturday night, I had the incredible privilege of witnessing Suba Trio’s mesmerizing performance at Lafayette London, part of the noisenights initiative that aims to revolutionize classical music by bringing world-class musicians to intimate venues. From the moment I stepped into the venue, I could sense the anticipation in the air—a shared excitement for the musical journey that lay ahead.

Before the gig started, I couldn’t help but overhear two girls behind me discussing the event about to begin. One excitedly said to the other: “Be ready to be blown away!”. I looked around and indeed I had the feeling that everyone around me was waiting to have their minds and souls blown away by Suba Trio. And swept away we were, from the very first note. 

Omar Sosa from Cuba, Seckou Keita from Senegal, and Gustavo Ovalles from Venezuela—three virtuosos in their own right—bring together their talents on piano, kora, and percussion, respectively, to create a fusion of sound that is nothing short of transcendent. Suba Trio embodies the convergence of three distinct cultures rooted in Africa. Their performance can be described as ethereal, elevating, and exquisite, a testament to the profound connection forged through years of musical collaboration. Their music is not just sound, is the science of sound. 

Throughout the evening, I found myself utterly captivated by the effortless interplay between the three musicians. Each note seemed to flow seamlessly into the next. The pure sound of the kora was perfectly complemented by the beautiful sound of the piano and by the rhythm of each percussion instrument. The trio effortlessly wove together moments of humour and introspection, creating a dynamic soundscape that held the audience in rapt attention. This was a display of cultural richness.  

But what truly set Suba Trio apart was their ability to engage the audience as active participants in the musical journey. As Seckou Keita aptly put it, the mark of a professional musician lies in their ability to make the audience smile, dance, and cry with joy. And indeed, we were swept away on a wave of collective euphoria, smiling, our bodies swaying, and I bet there were a few tears here and there too. The three artists were more than musicians. They acted like spiritual guides for an eager audience. 

In a world often divided by borders and barriers, Suba Trio’s music served as a powerful reminder of the unifying force of art and culture. Through initiatives like noisenights, which seek to break down barriers and bring music to unexpected places, they are forging a new path for classical music—one that celebrates diversity, creativity, and the universal language of music.

In Conversation with Hector Harkness

Published on by Tabitha JamesLeave a comment

We sat down with Hector Harkness the co-director of Punchdrunk’s latest production, Viola’s Room. Harkness has over 20 years’ experience creating ground-breaking theatrical events.

Written by Booker Prize-shortlisted Daisy Johnson, Viola’s Room reimagines a classic gothic mystery for a new audience. It distils two decades of Punchdrunk’s immersive practice into an intimate sensory adventure that promises to infuse the dreams of anyone who dares to follow the light.

  1. Can you tell us where the inspiration for Viola’s Room came from?

The show’s based on a Victorian gothic horror called The Moonslave. It’s a brilliantly mysterious and enigmatic short story, and it was the inspiration for an intimate one-person show Punchdrunk created very early on in our existence. Now we’ve decided to revisit the story and reimagine it, working with the writer Daisy Johnson to turn it into a new kind of adventure. 

  1. How will Viola’s Room be different from other recent Punchdrunk productions like The Burnt City or The Drowned Man?

It’s a very different kind of physical experience. Those previous Punchdrunk shows are partly about the thrill of exploring a space at will and piecing together your own adventure. In Viola’s Room you’ll flow through a story, beat by beat, riding the wave of it. We’re asking audiences to step into the dark and let us take their hands on a journey.  What’s exciting for us is the opportunity to tell a tale from beginning to end, to distill what we love about sensory experiences into a compact design installation with a spine-tingling story at its core. 

  1. Tell us a bit about your creative team and how this collaboration has been going so far?

We’ve assembled a really inspiring team of collaborators for this one, many of them new to Punchdrunk, and all of us creating something that’s pushing us in new directions. Our challenge is to make a show told through sound and light, so having Simon Wilkinson on board as lighting designer is really exciting for us, because of his experience in creating magic in miniature , as well as epic stage spectacle. Casey Jay Andrews is designing, bringing her previous history with Punchdrunk projects to create a richly detailed environment. And then Gareth Fry is our sound designer… as one of the leading sound artists in the world right now we’re thrilled to be crafting the audio world of this experience with him. It’s taking a lot of very close collaboration as we’re all making new discoveries at every turn. There’s also a big crew of makers, dressers, carpenters and technicians who are all working their socks off to make this intimate world a reality. 

  1. What difference has it made to Punchdrunk having a permanent base?

It’s a real gamechanger for us to have a facility where we can keep experimenting and give proper resource to new ideas like Viola’s Room. It’s not easy for anyone creating artistic work at scale to find the places to do it in London, so we’re very lucky to have found these massive sheds in Woolwich that are a blank canvas for our ideas. Like most theatre companies we need to be in a space together, collaborating face to face, and it allows us to do that whether we’re trying a tiny moment or making an epic immersive world. 

  1. Helena Bonham Carter will be the voice of the narrator. What was it like directing her when you recorded this?

I think when audiences come along to Viola’s Room they’ll instantly get why Helena was our dream casting for this show. She has the kind of voice that moves between soothing bedtime story and darkly secretive and mischievous. In the recording studio she threw herself into discovering the right tone, and like all our work on this project it was an experimental process which Helena jumped on board with. As is often the case when we make intimate work with text, we found that imaginative tasks (like whispering the text to a sleeping baby) meant we found a level of intimacy that’ll hopefully feel really visceral for our audience, like Helena’s right there with you in the dark!

  1. Viola’s Room is not a live performance – what would you describe it as?

I’m enjoy that currently it’s something unclassifiable! Perhaps if pushed I’d say it’s audio story come to life, it’s a sensory immersive adventure, and it’s an explorable art installation guided by light. 

  1. Anything else you’d like to say to encourage people to come along?

Viola’s Room is for anyone who remembers the magical thrill of being read a bedtime story and slipping off into dreamland. We think it’s unlike anything you’ve seen before, so if you have an appetite for mind-bending new experiences, snap up a ticket! 

REVIEW: Barrier to Entry

Published on by Ke MengLeave a comment

Rating: 2 out of 5.

A light-hearted examination on UK’s education system eventually falls down as a TED Talk

Written and performed by Ed Oulton, Barrier to Entry attempts to explore and examine the failures of the UK education system through the story of Connor, a young lad from Liverpool who fails his GCSE Maths several times.

Of course, we know there are a myriad of problems in the system which seem all unfixable, and some are not even discussable. However, Barrier to Entry seems not to have done proper research, which makes the show become merely an (anti)hero rebellion against the school itself.

The first 70 to 80 minutes of the show are enjoyable, though. Oulton starts as a bit shy but soon showcases his talent as a comedian and an impersonator, mimicking a variety of different characters including “John Lennon” – a gloomy school teacher. Its ambiance is quite like TV sitcoms from some 20 years ago, a mixture of Little Britain and The Catherine Tate Show.

Connor’s graffiti rebellion and the school management’s labelling of the act as “vandalism” and “crime” feel all too familiar. There is even a scene where students unite against the school’s security guard, reminding me of current campus tensions in the US. But these scenes quickly fade away with no further exploration, leaving little room for the audience to ponder or feel.

The last ten minutes drag on excruciatingly, undoing what has been built up and lifted earlier. Connor’s artistic talent, recognised by a friend of “John Lennon” at the Royal College of Art in London, could secure him an offer at RCA once he passes his GCSE. 

The system – he criticises throughout the show – suddenly works. This light-hearted and rebellious journey devolves into a dull and dreadful TED talk preaching on self-advancement and leaning-in. The twist continues, as Connor fails as a mediocre artist. So he returns to Liverpool for community work. At this point, I have completely lost interest in Connor’s fate. It’s simply unbearable.

There’s almost no directorial touch – moving chair around does not really count – and the straightforward projections of Connor’s words feel more like a classroom teaching aid than an artistic expression. Furthermore, the random light changing, intended to represent Connor’s differing mindsets, fail to make any meaningful distinction and offer no real help to the show.

REVIEW: Manchester Collective – Rothko Chapel

Published on by Maria Mădălina IfrimLeave a comment

Rating: 4.5 out of 5.

A fascinating take on Morton Feldman’s 1971 work

Manchester Collective’s rendition of Rothko Chapel (and other commissioned pieces) was an immersive journey through colour, sound, and vibration, masterfully curated by Creative Director Rakhi Singh in a concert hall that echoed with form and silence, setting the stage for an unforgettable experience.

The evening began with Arvo Pärt’s ‘Solfeggio,’ a melodic and systematic homage to Feldman, introducing the audience to the thematic depth of the performance. Giacinto Scelsi’s ‘Ave Maria’ followed, a dark and repetitive piece that evolved into an eerie melody, evoking life’s rhythm with medieval undertones.

Isobel Waller-Bridge’s ‘No. 9’ and Katherine Balch’s ‘Songs and Interludes’ drew inspiration from the intricate details of Rothko’s paintings and, surprisingly, Virginia Woolf’s essay, ‘A Room of One’s Own.’ These pieces juxtaposed voices and instruments, creatively employing harmonicas and synchronized incandescent light to complement the colorful cacophony of sounds, culminating in a captivating finale.

Kaija Saariaho’s ‘7 Papillons,’ No.2, captured the birth and flight of a butterfly with dissonant yet clinical precision. Missy Mazzoli’s ‘Vespers for Violin’ introduced a murky electronic texture, reimagining a church service for the contemporary world.

Edmund Finnis’s ‘Blue Divided by Blue’ seamlessly fused visuals and music, with the choir singing a text crafted from Rothko’s painting titles. The strategic use of pauses added depth to the piece, emphasizing its contemplative nature.

The climax of the evening was ‘Rothko Chapel,’ a half-hour of harmonic bliss. The achingly beautiful melody discovered by the solo viola in the final moments provided a satisfying resolution, completing the circle of inspiration for the commissioned pieces with the original.

The collaboration between SANSARA and Manchester Collective was executed with finesse, although the visual aspects, particularly the characteristic spot lamps, occasionally overshadowed some pieces. Nonetheless, the performance was a testament to the collective’s artistic vision and ability to transcend traditional boundaries, leaving the audience spellbound.

REVIEW: Maggie & Me

Published on by Iona GoodallLeave a comment

Rating: 4 out of 5.

Unapologetically honest, nostalgic and occasionally brutal

Anyone expecting a bittersweet, queer story of triumph over the odds in a time of struggle against the repression of Thatcher’s regime against homosexuality when they come to see Maggie & Me will leave with expectations only partially met. Instead, they will see something much more interesting.

Maggie & Me, written by Damian Barr and based on his memoir, explores what it means to truly face your past from the present, and mental gymnastics people do to separate themselves from the things we’d rather not remember. Through his mental revisiting of his memories with his younger self, we dance through a mishmash of 80s TV and film references, experiences of growing up gay, trauma of abuse, and the power of love and connection to help us make it through.

Kenneth MacLeod’s set design and Tim Reid’s video design were breathtaking. Once the story roars into life with Damian’s jump back into his past, the stage opens up from a Brighton shed into a grand, horrifying stairway up the Ravenscraig bing – a stairway to heaven (or hell). The TV screens around the set play the video feed from cameras held by the cast, sometimes an interview of the ever-present Thatcher, sometimes forcing us to watch up close and personal the face of a young boy going through some of the worst experiences of his life.

The show has an extraordinarily hard-working cast, flitting through costume changes and characters and managing cameras every few seconds in director Suba Das’ tightly paced show. Though sometimes the Scottish accents came across as parody, every character rang true. Gary Lamont as Damian and Sam Angell as wee DB give the show its heart, both so deft at managing the huge jumps in emotion the funny and hard-hitting script demands of them. Beth Marshall’s Maggie Thatcher lands a lot of the show’s humour – and I don’t think I’ll ever lose the mental image of Maggie Thatcher in a Diana from V breastplate.

Sometimes the show was incredibly hard to watch knowing that these events were real, especially as Damian approaches the final memory he avoids throughout the whole show. They do not shy away from any issue, be it classism, homophobia, the closing of industry by Thatcher’s government, divorce, abuse, alcoholism, or the dangers faced by young gay men when their only way to meet others like them was to put themselves in dangerous situations. It feels like an attempt to cram absolutely everything from the memoir into the show – and yet, it’s so well-written and smoothly directed that the audience never feels overwhelmed by detail.

This production is electric. Whether it’s making you laugh, making your skin crawl, or making you weep, it will change something in your brain chemistry. It’s intensely personal, but you will leave the theatre not just pondering every detail of this jam-packed show, but also reflecting on your own journey to who you’ve become.

REVIEW: The Collie’s Shed

Published on by Claire McArthurLeave a comment

Rating: 5 out of 5.

Utterly compelling – a stunning and emotional production

On the hottest day of the year in Edinburgh, it felt strange being ushered into the functional and vaguely industrial Studio theatre, but in the space of an hour, a full house were kept in grip of Shelley Middler’s superb The Collie’s Shed.  

The production opens in 2022 – we find ourselves in a Men’s Shed in East Lothian, where three retired miners of the Bilston Glen Colliery are uneasily reunited with someone from their past. 

A sparse stage of two woodworking tables and four chairs are all that’s needed to show the men in 2002, as an independent review of the policing of the 1984 strikes is announced. Best friends Billy (Kevin Parr) and Tommy (Alasdair Ferguson) are natural sparring partners – the buzzing energy of Billy, and the good natured Tommy, lasting decades of friendship. Charlie (Stephen Corral), the family man, who has a more paternal relationship with Billy, and then there’s Glen (Paul Wilson), returning after many years away following a rather unexpected career.  

We’re seamlessly taken back in time, and shown the younger versions of themselves, on a strike day in 1984. Young Billy (Joey Locke) and Young Tommy (Calum Manchip) are heading out on the picket line as usual, confronted by Charlie clearly heading back down the pit – in conflict but desperate to provide for his family, supported by Young Glen (Ben Robert Cunningham), who had stayed in work since the start of the strikes. An impassioned speech from Young Charlie (John Gray) brought a genuine lump in my throat, and a few sniffs from other areas of the audience showed I was not alone in feeling the emotional turmoil of his character.

We move back and forth between the decades, hearing the effects of that day, and how it influenced the men as they are today. We’re given glimpses into the history, but this is not a documentary (and deliberately so) – the focus on the characters rather than a timeline of the strikes themselves. The announcement of a pardon on a deeply emotional day, leads to some form of reconciliation, and served as a perfect showcase of the complicated nature of this subject.         

There were accomplished performances from all of the cast. The characters had a deeply harmonious connection with their younger counterparts – closely matching their energies, mannerisms and mirroring their relationships across the decades. Joey Lock’s unbridled idealism as Young Billy, reflected in the still-burning embers of Kevin Parr’s Billy, was perhaps my favourite pairing.         

The script itself was drumskin-taut, with every second accounted for, and no extraneous description. Some darkly comic moments, and distinctly Scottish mannerisms kept this true to the location. The unspoken fact that Bilston Glen was a mere 6 miles away from our current location felt at times very intimate. Sound and lighting were pitch perfect – as the audience was seated, the 1980s scene was set with carefully curated music featuring The Newtown Neurotics (Living with Unemployment and Wake Up), with Scottish influence from Big Country.  

As we filtered back into the sunshine, it would have been too easy to shake off the powerful events of the last hour, but I couldn’t lose the raw emotion brought to life in these characters. This show will stay with me for a long time, and it deserves to be seen by many.     

This was the opening night of an eight night tour, continuing with shows across Fife, North Lanarkshire and East Lothian.