'By The
Waters Of Liverpool' is the second of three sequels to Helen Forrester’s first autobiographical
book 'Twopence To Cross The Mersey' (adapted as a hugely successful play and
musical). This much anticipated production has once again been adapted by
writer and producer Rob Fennah who became great friends with Forrester until
her death in 2011. Fennah demonstrates a great understanding throughout this
drama as he picks up the story bringing Forrester’s recollection of being a
young woman in 1930s Liverpool from the page to the stage. The material is rich
in period references of this between-wars decade documenting the Great
Depression that produced worldwide economic recession causing investors to lose
millions on the stock exchange.
Fennah
handles Helen’s story sensitively without being overly sentimental. In fact, he
doesn’t pull his punches as we see the Forrester family’s decline as Helen’s
once wealthy stockbroker father (Mark Moraghan), having lost everything, is
forced to move them from their comfortable home in the South to his native
Liverpool. Maria Lovelady is extremely comfortable in the lead role of Helen,
having played the character in the previous play, setting a good pace having
had a few shows under her belt. We follow Helen’s story of rebelling against
her middle-class mother (Emma Dears) who runs up debts as she insists on
keeping up appearances. She pulls Helen from school and treats her as a nanny
to her younger siblings and an unpaid domestic servant. Helen fights for her
right to work (in borrowed clothes) and to educate herself receiving an even
harsher reality check along the way as she falls prey to unscrupulous men and catty
women in the workplace, where secretarial jobs are most coveted. It’s something
of a hard knock life for the well-spoken young woman, looking for life and
love, who is very much a fish out of water in the rough port of Liverpool.
There are
many reasons why this play shouldn’t work. The Liverpool Empire stage is an
enormous setting for this kitchen sink drama. In many ways it would be better
in a more intimate theatre that would capture the family living altogether in
one room rather than grouped on the stage. Set designer Richard Foxton supported
with clever lighting by Ian Scott, however, goes with it creating a huge static
Liverpool buildings backdrop with the cast moving a few pieces of furniture
around to create scenes. The vastness of the space somehow represents the
enormity of the issues and the great appeal of the story attracts crowds enough
to fill the 2,500-seat theatre. The play is didactic throughout which may
irritate some as we are very much taught the history of the depression and the
rise of racism, poverty, communism and the Nazi party leading to the outbreak
of WWII. It is very much like a book reading at times but there is a great deal
of ground to cover and this is an effective way for the stage. It’s also a
cautionary tale with enough modern-day relevance to attract a younger audience.
The play is crying out to be a television series.
Director
Gareth Tudor Price has a fine ensemble cast to work with bringing characters to
life realistically and adding some beautiful dance sequences that capture the
era. Eric Potts, of Dr Who fame, brings fun and a class performance to his
numerous roles including a bailiff, pawn broker and air raid warden. It is
refreshing to see performances that do not simply stereotype Liverpool people
as cheeky or criminal Scousers. I have not read the books or seen the previous
plays (there is no need for this to enjoy the performance) so admit to coming
with expectation of yet another typical Liverpool family saga. This is far from
that and there is a reason why Forrester’s work continues to attract such huge
audiences. I left with a tear in my eye and a longing for the next instalment.
The new
stage adaptation is fully endorsed by the Helen Forrester estate, and is part
of the Liverpool Empire’s #Liverpool2018 celebrations to mark the 10th anniversary of the city’s European Capital of Culture year.
Reviewer - Barbara Sherlock
on - 6/10/18
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