justinemsjones

IN CONVERSATION WITH: Molly Keogh

Published on April 8, 2026April 8, 2026 by justinemsjonesLeave a comment

We sat down for an exclusive interview with Molly Keogh, founder of HOUSE23, a multi-faceted creative community built to keep the fire burning for established and emerging artists across all crafts.

Short Shorts: Comedy is an invite-only screening and networking event on Sunday 12th April at Riverside Studios for filmmakers and performers to celebrate comedic storytelling. Apply to attend here.

HOUSE23 is described as a space to “keep the fire burning” for artists. What first inspired you to create this community?

As an artist, it can feel incredibly isolating when you aren’t working. Whether you’re waiting for an email response, working your side hustle, or staring at a blank page, it’s in those quiet, frustrating gaps that we need community most. Being an artist isn’t just about being on stage; it’s the moments in between – the compromising, the patience, and the hope. HOUSE23 was born to keep that hope alive and the fire burning during the hard times. We’ve created a space to celebrate our achievements and overcome the imposter syndrome that so frequently knocks at our door. I want artists to come together, support each other’s work, and keep championing one another so that every creative feels seen.

Short Shorts: Comedy feels like more than a screening. What was your vision for bringing this kind of event together?

My vision was to launch a series that brings creatives from all stages together to share work, support one another, and learn. I wanted to create a space that actively throws the ladder back down, dismantling the hierarchy and removing the gatekeeping that often feels so impenetrable. By showcasing BAFTA-winning talent alongside emerging voices at Riverside Studios, we are breaking down walls and fostering a genuine sense of hope. This event is more than a screening; it’s a collaborative environment for networking and growth. It marks the beginning of a series of films designed to prove that the work speaks for itself, providing a platform where we can champion each other and keep the creative fire burning.

How did you approach curating the selection of films for the evening?

I had so many wonderful pieces to choose from – it was a real challenge! Comedy is deeply subjective, so my approach was to be as broad as possible with the styles I put forward. I’ve curated a lineup that balances high-calibre, BAFTA-winning projects with bold, fresh indie voices. Each film has its own unique strength, ranging from surrealist wit to sharp, observational storytelling. I wanted to showcase the incredible breadth of UK talent and prove that brilliant comedy can come from any career stage. I’m super excited to provide a platform for these creators to share their work in a room full of peers who truly appreciate the craft and the effort behind every punchline.

What do you think artists need most right now in terms of support and connection?

We are navigating a world where so many doors feel permanently closed. The industry’s gatekeepers often feel out of reach, leaving many artists feeling they aren’t ‘good enough’. Social media has further skewed this access; if you don’t have a certain follower count, you often aren’t given a look-in. We see this in theatre constantly – unless you’ve done big TV, sometimes the West End can feel inaccessible. We need to change the narrative and prove to producers that backing us isn’t a ‘risk’. We have the skills, the talent, and the craft. The work speaks for itself, and it’s time to stop choosing the predictable route. Artists need a community that champions talent over metrics and demands that merit takes centre stage.

The evening includes a live Q&A with filmmakers and performers. What kinds of conversations are you hoping to open up through that?

I’m hoping to offer an honest look at the reality of a creative career. It’s not just about the accolades; I want to dive into their journey from indie filmmakers to BAFTA winners and discuss the genuine obstacles they’ve overcome to get there. By talking to Ruth Pickett and Luke Rollason, I want to show my audience that this path is possible and within reach, but it requires resilience. I want to provide hope and guidance, encouraging people to keep making the art that fires them up. Look at these two! They’ve navigated the hurdles and come out the other side. My goal is to demystify that process and share the grit behind the success.

How do you see HOUSE23 evolving in the future?

The future of HOUSE23 is etched into its name: bringing individual voices (2) into a social community (3). It’s about community, community, community. I want to rebuild the industry landscape to help artists create sustainable careers through more screenings, workshops, wellbeing sessions, and live shows. My vision is for HOUSE23 to become a permanent home that creatives can turn to when times are tough – a place to reconnect with themselves, their peers, and their work. This is a notoriously difficult industry, and we could all use each other’s support to keep going. As we evolve, we will stay dedicated to being that vital support system, ensuring no artist has to navigate their journey in isolation.

REVIEW: Maricel

Published on March 28, 2026March 28, 2026 by justinemsjones1 Comment

“Cultural immersion, done beautifully”

Maricel is a beautifully crafted film, shining a light on a reality faced by millions of Filipino families. With the space it allows to explore the quiet moments, it raises important questions and invites questions on the cost of success.

Zar Donato is excellent in the role of Maricel. She completely captures the complex, conflicting emotions of the situation unfolding in front of her. From the meticulous standard of support she provides to the elderly Greek couple in her care to the earned bursts of frustration, her performance reflects Filipino culture authentically.

The simple, routine moments shine across both cultures. Food plays a continuous role in the film. The showcasing of lesser-known Greek cuisine, rooted in what is readily available, highlights the simplicity of Greek cooking. The preparation of honey and ginger tea to soothe ailments, and the presence of carefully stored, plastic-wrapped snacks, will feel familiar to many within Filipino households. The running joke around long-grain rice was subtle and well done.

The tenderness and honesty with which the sexual realities of OFWs are portrayed are moving and deeply affecting. The film presents, in a strikingly beautiful yet unflinching way, how difference and vulnerability can lead to exploitation. It powerfully captures the spectrum of experiences – from those who endure and adapt, making the best of difficult circumstances, to the harsher, more unsettling realities that many have had to confront and overcome.

As the daughter of an OFW who lived in Greece, this film feels deeply personal. Seeing the crossover of Tagalog, Greek and English brought to life feels almost sacred, a detail handled with great care. The emphasis on particular phrases – where “bastos” comes to mind – feels charmingly natural. The emotional turmoil of balancing the loss of family and the acceptance of another family met with a quiet, stoic resilience echoes the determination of OFWs to create a better life for their families, often at great personal cost.

After the screening, director Elias Demetiou took part in a Q&A. He spoke openly about his family’s personal experience with Filipino workers, affectionately referring to the woman who inspired Marciel as a sister. His brother also composed the moving score, a first for the brothers after many years of Elias’s requests.

Marciel is a human story, told with care and details that resonates well beyond the screen. Showcasing 52 feature films, including nine UK premieres and eight world premieres, catch the Manchester Film Festival until 29th March. Tickets are available here.

REVIEW: Exit 8

Published on March 27, 2026March 28, 2026 by justinemsjonesLeave a comment

‘A game adaptation done brilliantly’

Exit 8, directed by Genki Kawamura, was screened at the 2026 Manchester Film Festival, drawing a packed audience to the Odeon Great Northern on Tuesday 24th March. The film first premiered at the Cannes Film Festival in 2025 and marks Yokohomo-born director’s third feature following Monster (2023) and Weathering with You (2019).

Inspired by the indie adventure game of the same name, Exit 8 vividly brings to life the monotony and chaos that fans will instantly recognise. With the familiar blend of horror and psychological tension, audiences feel as though they have stepped back into the game. At its core, Exit 8 is a spot the difference game, where players look for anomalies in a Japanese subway setting. Many of the anomalies and characters are faithfull adapted from the game to screen, offering plenty for fans to enjoy.

The film offers a glimpse into everyday life of a salaryman – a worker just trying to get by, absorbed in his own routine and worries. An unexpected phone call brings life-altering news and just like that, our main character, Kazunari Ninomiya, is in a game he did not expect to be playing. Delivering a stellar performance, he leads you through a series of challenges meeting several unhinged characters along the way, each trapped in their own game of life’s struggles.

At times, the film moves at a slow pace. This seems like a deliberate attempt to illustrate the repetition of everyday life. For fans of fantasy world, this lingering will likely be welcome to stay immersed for longer.

The film’s deliberately simple set repeated throughout scenes is a welcome thread in an otherwise chaotic story. The set acts as the foundation across all changing environments, keeping audiences engaged as they look for differences. The sound and sound design were impressive, keeping the audience on the edge of their seats during tense moments.

Showcasing 52 feature films, including nine UK premieres and eight world premieres, catch the Manchester Film Festival until 29th March. Tickets are available here.

REVIEW: Psychopomp

Published on March 20, 2026March 28, 2026 by justinemsjonesLeave a comment

“A short film that will stay with you long after you leave the theatre.”

Manchester Film Festival opened to a full auditorium at Aviva Studios. The 11 day festival celebrates film across the city with an action packed programme of events. In its 12th year, the festival continues to grow. The opening event was a double bill of Kit Harrington’s Psychopomp and Jan Komasa’s The Good Boy.

Psychopomp is an excellent black comedy short, following a road trip led by Harry Melling as Harry, who has decided to end his life with the help of an assassin, Liam, played by Ciaran Owens. What initially feels like a play on stereotypes soon reveals a far deeper emotional core, uncovering the dark histories that underpin such situations. Alluding to a past that raises more questions than it answers, the film feels intimate and personal, capturing the complexity of what is unfolding. When a film is able to move you so profoundly with a single word, you know you’ve discovered something truly special.

Filming took place in the North of England across Leeds , Kirkstall, Ilkley Moor and Barton-upon-Humber, something Kit Harrington spoke of fondly in the Q&A that followed and cited that being a reason for the film being shown at the festival with him in attendance. The film was shot over three days, with half a day dedicated to the incredibly sombering Humber Bridge Scene.

The Q&A also offered a moment for the Game of Thrones star to share his vulnerabilities around bringing his directorial debut to an audience. Hearing Kit Harington speak about his desire to challenge himself through Psychopomp, and his reflection on the support he received from the industry in making it a reality, was insightful and refreshingly honest.

The Q&A also highlighted the genuine comradery across the production team and actors, with Owens praising how good it was to have an actor in the directors shoes who understands the relationship building needed to deliver such an emotionally complex performance. Harrington commented that he would want to direct again and for anyone who watches Psychopomp, they will certainly be looking forward to the next project he works on.

Showcasing 52 feature films, including nine UK premieres and eight world premieres, catch the Manchester Film Festival until 29th March. Tickets are available here.

Psychopomp was followed by The Good Boy – the reviewer did not attend this part of the event.

REVIEW: Imitating the Dog: War of the Worlds

Published on March 1, 2026March 28, 2026 by justinemsjonesLeave a comment

“An ambitious adaptation driven by technical brilliance”

Imitating the Dog is known for pushing multimedia boundaries and War of the Worlds takes this to new heights, using forced perspective, model worlds, camera tricks and projection with live and recorded content, blending the animate and the inanimate to create a modern take on the classic novel.

Four performers work together to deliver this technically brilliant production. Bonnie Baddoo, Morgan Bailey, Gareth Cassidy and Amy Dunn operate cameras live on stage while simultaneously performing, creating a constantly shifting theatrical language.. The sheer amount each cast member has to consider is almost unbelievable. Managing props and angles while sustaining character and narrative momentum requires extraordinary coordination and is a joy to witness. The level of detail and impact of each movement only emphasises the complexity of what is unfolding on stage. A particularly impressive sequence sees a miniature set transformed into a cinematic landscape in seconds, the performers’ movements perfectly timed to give the illusion of scale and devastation. The craftsmanship is undeniable.

Where the production falls slightly flat is the storyline. Inspired by the H.G. Wells novel and the 2005 film, the modern take follows Will Tavener navigating the UK while experiencing an apocalyptic disaster. Mechanical creatures reduce the living to ash, and after waking from a mysterious hospital incident, Will embarks on a journey of survival and self-discovery. The apocalyptic feeling that runs through rings true to the earlier material and attempts to bring modern-day issues to the surface. The message of destroyed homelands forcing people to the Channel feels like a symbolic comment on displacement and resilience, and is cleverly woven into the narrative.

What is challenging is the lack of emotional depth around certain characters and topical issues. Certain relationships, particularly that of the protagonist’s wife, feel underexplored, making it harder to invest in the human stakes of the story. It is possible that this emotional distance is intentional – a reflection of trauma and disorientation – but it leaves gaps that the visual spectacle cannot entirely fill. In contrast to the meticulous detail of the staging, the character development feels sparse.

That said, the ambition of this production is difficult to ignore. Even when the storytelling lacks depth, the theatrical innovation remains compelling. Those interested in seeing the backstage effort that goes into productions and who enjoy dystopian set worlds will certainly enjoy and ponder on this version of War of the Worlds. After a run at The Lowry, the production continues its tour across the UK until May 2026. Tickets are available here.

REVIEW: Operation Mincemeat

Published on February 25, 2026February 28, 2026 by justinemsjonesLeave a comment

“A brilliant reminder of why you fell in love with theatre in the first place.”

With 88 (and counting) five star reviews, it is hard to know what other compliments can be given to the incredible musical, Operation Mincement.

Beginning its world tour at The Lowry is a wonderful full circle moment for the show. 15 minutes of the show were shared with a small audience in the Aldridge Studios after the writers took part in The Lowry’s artist development programme. To grow from that intimate showcase to the West End, Broadway and beyond is a testament to the strength of British theatre development. It is only right that the yellow carpet was rolled out to mark this exciting new chapter in the shows story.

Operation Mincemeat is based on the true story of MI5 deceiving the Nazis. At a critical point in WWII, the Germans knew the Allied forces would attack Southern Europe. The Allies favoured an invasion through Sicily – but the obstacle was the 100,000 enemy troops waiting there. MI5 needed a plan bold enough to convince Hitler that Sardinia, not Sicily, was the true target, clearing a path for victory.

The ingenious plan was to plant a corpse on a Spanish beach carrying falsified documents in a briefcase outlining an invasion of Sardinia. The musical captures both the absurdity and the gravity of this mission, balancing belly laughs with a grounded respect for the very real lives behind the story.

It is almost impossible to believe the show is performed by just five cast members. The UK tour cast – Christian Andrews, Seán Carey, Charlotte Hanna-Williams, Holly Sumpton and Jamie-Rose Monk – deliver a masterclass in versatility. Seamlessly transitioning between genders, accents and entirely different characters, often in a matter of seconds, they command the stage with razor-sharp precision and sustained momentum. Watching them shift from broad comedy to poignant sincerity is a marvel and a testament to the calibre of every performer who has stepped into these roles.

“Dear Bill” is, of course, a highlight. Experiencing the incredibly moving performance live from the exceptionally talented Christian Andrews was a joy to witness. The simplicity of a solitary spotlight allows the emotion to breathe, reminding the audience of the human heart at the centre of wartime romance. It is a beautifully judged pause amidst the pace and wit of the show.

One of the elements that makes Operation Mincemeat so remarkable is the sheer complexity of its writing. What is particularly striking is the clarity of storytelling despite the density of information. With around 80 characters brought to life, the clarity and structure of the script are impressively controlled. It is this meticulous craftsmanship that explains both the critical acclaim and the fiercely loyal following the show has amassed.

Ben Stones’ costume and set play a vital part in the success of the staging. The stage is alive with various inventive props and clever set pieces that help move fluidly between characters, timelines and storylines. The hilarious costume pieces that are added to the iconic suits enrich the constant movement.

If you are not convinced by the Oliviers and Tony the production has received, then trust the experience. If you enjoy theatre that makes you laugh out loud, sends you out humming your favourite songs and tugs unexpectedly at real emotion, this musical delivers that and more. If you can score a ticket to the sold-out dates, Operation Mincemeat plays at the Lowry until 28th February and continues on its UK tour. Tickets are available here.

To Kill A Mockingbird by Lee, , Writer - Harper Lee, Adapter/Playwright – Aaron Sorkin, Director – Bartlett Sher, Associate Director – Louisa Muller, Set Designer – Miriam Buether, Design Supervisor – Ed Pierce, Costume Designer – Ann Roth, Lighting Designer – Jennifer Tipton, Sound Designer – Scott Lehrer, Composer (Original Score) – Adam Guettel, Musical Supervisor – Kimberley Grigsby, Casting Director – Serena Hill CDG, Hair and Wigs Designer – Campbell Young Associates, Resident Director – Laurence Belcher, Cultural Coordinator – Tavia Jefferson, (UK & Ireland tour, opening at Leeds Playhouse, 2025) Atticus Finch – Richard Coyle, Scout Finch – Anna Munden, Jem Finch – Gabriel Scott, Dill Harris – Dylan Malyn, Calpurnia – Andrea Davy, Judge Taylor – Stephen Boxer, Tom Robinson – Aaron Shosanya, Bob Ewell – Oscar Pearce, Mayella Ewell – Evie Hargreaves, Horace Gilmer – Richard Dempsey, Mrs Dubose – Sarah Finigan, Miss Stephanie / Dill’s Mother – Phillipa Flynn, Mr Cunningham / Boo Radley – Harry Attwell, Sheriff Heck Tate – Colin R Campbell, Link Deas – Simon Hepworth, Ensemble – Paul Albertson, Ensemble – James Mitchell, Ensemble – Jonathan Rubin, Ensemble – Cheryl Burniston, Ensemble – Charlotte Luxford, Ensemble – Oyin Orija, Ensemble – Tiwai Muza, Ensemble – Tom Brace-Jenkins, Ensemble – John J. O’Hagan

REVIEW: To Kill a Mockingbird

Published on January 16, 2026January 15, 2026 by justinemsjonesLeave a comment

“Messy and peaceful, as life has always been – but rarely shown so expertly on stage.”

Harper Lee’s To Kill a Mockingbird, directed by Aaron Sorkin, has landed in The Lowry. The Pulitzer Prize winning novel many UK school children have and continue to study has been expertly adapted for the stage. Sorkin’s interpretation promises to offer a new perspective into the famed story, and expectations were surely met.

Set in the fictional town of Maycomb, Alabama, in the 1930s, To Kill a Mockingbird explores racial inequality in the Deep South. Through a rape case against cotton farmer Tom Robinson, the audience bears witness to the struggle and challenges of post-Civil War Southern USA. With many pockets of Maycomb’s community to explore, all of the characters come together to paint a picture of a society wrestling with difficult moral questions.

Traditionally told through the eyes of children, Sorkin’s representation of the novel shifts more focus to lawyer and father, and now protagonist Atticus Finch. This Atticus has a deeper level of conflict, allowing him to feel more relatable as he grows on stage and becomes authentically human, rather than the unwavering beacon of integrity many readers remember. Using the children as narrators alongside the unfolding of events, rather than adults recounting the story, shifts the perspective from the children being observers to being actively involved, adding further depth to the piece. Fans of the novel need not worry – the story feels enriched rather than diminished by this interpretation.

Sorkin’s script invites audiences to sit in discomfort. The brutal use of language, the exposure of extremist groups, and the disgust of this fictional yet uncomfortably recognisable humanity are juxtaposed against the morality of the few, the gentle teachings of acceptance, and the importance of reflection. It is messy and peaceful, as life has always been, but rarely demonstrated so expertly on stage.

Much of this success is down to the incredible talent across the cast. John J. O’Hagan’s Atticus is a pleasure to witness, effortlessly carrying the weight of such a well-loved character while allowing us to see his growth in this new light. Andrea Davy’s Calpurnia is a delight. With so much of her emotion conveyed without words for much of the play, her ability to create tension is remarkable. Anna Munden’s Scout, Gabriel Scott’s Jem and Dylan Malyn’s Dill all bring the vibrancy hoped for in these characters, often providing gentle comedic relief while also conveying the story’s heavier emotions. Other standout performances include James Mitchell’s Link Deas, whose key scene lingers long after the curtain falls, and Evie Hargreaves’s Mayella Ewell, whose time on the stand is a masterclass in unsettlement.

Miriam Buether’s set allows the stage to be transformed in a clever yet immersive way. Seeing principal actors involved in the transition of scenes subtly reinforces the theme of equality in a quietly effective manner. Ann Roth’s costumes further ground the audience in the period, reminding us of the narrators’ youth even as the maturity of the story remains unquestionable.

To Kill a Mockingbird has rightly earned its accolades over the last 66 years. Sorkin’s interpretation is a joy to witness, from the incisive writing to the remarkable performances, and it is well worth revisiting – or being introduced to – this powerful story. To Kill a Mockingbird runs at The Lowry until 24th January, tickets are available here.

REVIEW: The Moonwalkers: A Journey with Tom Hanks

Published on December 19, 2025December 18, 2025 by justinemsjonesLeave a comment

“Travel through the past, present, and future in an incredible celebration of space history.”

If you have ever been gripped by the fascination of space and what lies beyond our planet, you have likely been enamoured by the story of humans reaching the Moon. Arguably one of the greatest achievements of humankind is having gone beyond our atmosphere and successfully landed and explored the Moon. The Moonwalkers: A Journey with Tom Hanks gives space enthusiasts and the generally curious the opportunity to reflect on the mission people have gone on to achieve this incredible goal.

Created by Tom Hanks and Christopher Riley, The Moonwalkers takes audiences on a voyage through the Apollo missions of the 1960s and 70s. The mediums blend through Hanks recounting stories from his life and love for space, factual information on the colossal events that led to the Moon landing and interviews with future Artemis crew members, all of which come together to deliver a well curated and compelling tale about the hope to reach beyond.

Hanks is the perfect narrator for this story. He has truly swapped the cowboy boots for those of a space enthusiast and hearing his perception of the Moon landing through the eyes of his teenage self was a joy to hear.

What accompanies the beautiful narration are the equally impressive 360-degree projections and surround audio technology. Through NASA photography, the audience is completely immersed in space. The Moon images are crystal clear, it almost feels like you’re there yourself. The humanity communicated through the pictures is an element of this experience that leaves you feeling alive, knowing the once impossible was indeed possible. Particular highlights include the showcase of some of the 10,000 images taken during the Apollo missions. The ode to the fallen astronauts is a harrowing moment, delivered such a thoughtful and intentional way. By honouring the bravery of those who made the Moon landing possible while looking toward the Artemis generation, The Moonwalkers reminds us that progress is not finite – it is ongoing.

The piece is held up by the spectacular, contemplative original score by Anne Niktin. Far more than a supporting element, the music acts as an emotional guide throughout the experience, shaping the rhythm and tone of each chapter. Captivating through clever transitions between different genres, from jazz to contemporary melodies, it stands out in its own right.

It is impossible to leave without a renewed sense of faith in human curiosity and collaboration. The Moonwalkers: A Journey with Tom Hanks is a delight to witness. There are few ways better to spend 50 minutes immersed in adventure, awe and optimism. Visit Aviva Studios in Manchester to experience this masterpiece until 11th January 2026 or Lightroom in London until 8th March 2026. Tickets are available here.

REVIEW: Matthew Bourne’s The Red Shoes

Published on November 27, 2025 by justinemsjonesLeave a comment

“A dazzling production not to be missed”

Matthew Bourne’s The Red Shoes has arrived in The Lowry. Inspired by Powell and Pressburger’s iconic film and rooted in Hans Christian Andersen’s haunting fairy tale, New Adventures once again demonstrates how beautifully a classic can be reimagined for the stage. The company draws on a rich palette of dance styles and emotional storytelling to create a production worthy of its accolades.

At the heart of the story is Victoria “Vicky” Page (Ashley Shaw), a young ballerina who dreams of becoming a star. Her life shifts dramatically when the formidable impresario Boris Lermontov (Andy Monaghan) takes notice. He commissions The Red Shoes ballet with her as its centrepiece. The ballet-within-the-ballet mirrors the world around it: a tale of a girl cursed with enchanted red shoes that compel her to dance without rest. It’s a metaphor that becomes painfully real as Vicky is pulled between two loves – her rising career and her relationship with the passionate young composer Julian Craster (Dominic North). What unfolds is a moving exploration of ambition, sacrifice, and the price artists can pay for their devotion.

Matthew Bourne’s approach to dance is a celebration of everything theatre-goers savour. His choreography blends classical precision with contemporary flair and theatrical playfulness. There’s something wonderfully accessible about the way he stages movement – nothing ever feels distant or overly abstract. Instead, he invites the audience into the emotions of each moment.

One of the true highlights of the production is the staging of The Red Shoes ballet in Act I. It’s visually striking, meticulously choreographed, and rich with the dreamlike quality that Bourne does so well. Delightfully, the comedy sprinkled throughout the show becomes a standout feature. In such an expressive ballet, the humour lands clearly and confidently, often cutting through the drama at just the right moments.

Lez Brotherston’s set deserves its own applause. With clever mechanics and dynamic movement, it transforms fluidly from dramatic performance spaces to the colourful world backstage. At times, it feels almost like a character in its own right, guiding the story as much as framing it. The costuming, also by Brotherston, brings bursts of vibrancy, texture, and period charm, pulling the eye across every inch of the stage.

The Red Shoes is a dazzling production not to be missed. The Red Shoes plays at The Lowry until Saturday 29th November and tours the UK through the winter. Tickets are available here.

REVIEW: Wightwater

Published on November 2, 2025November 1, 2025 by justinemsjonesLeave a comment

“A haunting and confident debut from Frankie Lipman”

Working the graveyard shift sounds scary, but what happens when it actually goes wrong? Longlisted for the Royal Exchange Theatre’s Bruntwood Prize in 2022, Frankie Lipman’s debut play Wightwater has landed in the vaults of 53Two Theatre in Manchester.

Cleverly set in a fringe radio station, Whitewater follows a has-been radio host, Terie, holding onto the scraps of her career. Hosting the late night slot, Terie settles into The Paranormal Show where classic spooky hits are played and the public can call in to tell their ghost stories. Everything seems to be going smoothly – colleagues who don’t want to help, a regular telling the same story for the 100th time and a constant supply of coffee and biscuits. That’s until a call that seems to echo Terie past, leaves her feeling more than unsettled and leads to unexplainable events.

Isobel Middleton gives a brilliant performance as Terie. She shoulders much of the play’s emotional and narrative weight, guiding the audience through moments of dry humour, loneliness and mounting dread.Supporting her is Dylan Morris as the young, ambitious producer, whose easy realism grounds the piece and offers a glimpse into a generation that’s already looking beyond the studio walls. Barney Thompson’s Station Manager is both infuriating and familiar, the kind of boss whose indifference adds another layer of quiet despair to Terie’s world.

Lipman’s writing is clever and poetic, building tension through atmosphere, subtext and sound. The radio setting is inspired, allowing the small cast to carry such an atmospheric and intimate landscape. The play makes exceptional use of the disembodied voice, blending the uncanny with the mundane rhythms of late-night work. The pursuit of answers is a key part of Wightwater. In the conclusion of the play, there is a hope there would be more answers, more explanation of the past and the present. Perhaps that shows that there was a desire for more of Terie’s story.

George Miller’s lighting wonderfully layers the performance. Bursts of brightness and eerie shadows build tension and shock, jolting the audience at just the right moments. It is impressive to see what is possible in such an intimate space. The setting of 53Two could not be more apt. Nestled beneath Manchester’s railway arches, the venue’s echoing space enhances the play’s claustrophobic tone and further enhances the production.

Wightwater is a haunting and confident debut from Frankie Lipman. It’s a meditation on the ghosts we carry with us, wrapped in the eerie crackle of a late-night broadcast and a great spooky fix the industry needs more of. This is a production well worth tuning in for.

Wightwater plays at 53Two Manchester until 7th November. Tickets are available here.