Seamless blend of comedy and sincerity with fantastic script and performances, but other elements felt underused or clunky
‘Stayin Alive’ has now concluded its two-night run at the lovely 53Two in Manchester. Victoria Oxley, the writer, stars as Maggie, who is grieving the death of her nan. Emma Bispham is Maggie’s therapist Rob, her sister, and her estranged mum, as well as a series of pub tribute acts with amusing names. The acting is brilliant, particularly the physicality of the performances. Emma Bispham is great at distinguishing between her different characters, who give the play its layers, its complexity.
Victoria Oxley shows just as much versatility in her role, switching from playful 4th-wall-breaking and physical comedy to intense depictions of panic attacks and breakdowns. The scene where Maggie begs the audience to leave in the middle of a panic attack is one of the best moments. It was disconcerting and unexpected, totally original, but also built on the earlier comedic interactions with the audience.
‘Stayin Alive’ effortlessly changes between moods throughout, one of the major strengths of the play. The audience were always either laughing or gasping; everyone was clearly immersed. Repeatedly, it establishes a comedic atmosphere before quickly bringing the audience back down by returning to the serious themes being explored- mental illness, grief, abuse- and the contrast is very effective. It wouldn’t work if the play wasn’t hilarious and it wouldn’t work if its sincere side was any less powerful.
At times, the script can be somewhat on-the-nose, especially when Maggie is talking to herself. Most of the time however, it’s sharp, funny, and beautiful. Victoria Oxley’s use of foreshadowing and juxtaposition is fantastic.
Some of the transitions between scenes could be more fluid, but the fast-paced ‘Stayin’ Alive’ is never boring, always entertaining.
The subtle set design, using different props to create different environments simultaneously, was a personal highlight. The urn, the records that belonged to Maggie’s nan, the chairs, the bar stools and tables all come together to make a world that feels lived in.
Talking of those records, the soundtrack being used to show Maggie’s grief as well as to establish the setting is a great touch. The way the different songs by the tribute acts are used to tie into the narrative, setting, and characterisation mean none of them distract from the story, which they very easily could have.
The rest of the music, however, felt clunkier, coming out of nowhere without adding much. The lighting, similarly, could have been utilised a lot more. That said, the way it focuses attention onto Maggie during the scene where she sings in the pub is enjoyable. Perhaps using it more would have weakened the other aspects of the play. It was never bad, but like the non-diegetic music, it felt like it could have been used more effectively.
Overall, ‘Stayin Alive’ is a very strong piece of theatre, and with some refining of the design elements, it could be perfect.