The world premiere of local playwright Rob Johnston's latest offering, 'Dirty Old Town' was performed this evening inside The Greater Manchester Police Museum in the centre of Manchester as part of this year's Greater Manchester Fringe Theatre Festival, by Pact Theatre Company.
'Dirty Old Town' takes us back to the latter part of the 1800s, when Manchester truly was (even more so than it is now...!) a dirty old town. The industrial revolution was changing the shape, size and smell of the city, whilst political upheavals wrought financial hardships more than ever; and this made the narrow alleyways of Manchester a hot-bed of crime. Enter Sargeant Jerome Caminada, possibly the most famous policeman this country has ever known. A down-to-earth Mancunian of half-Irish, half-Italian parentage, who would stop at nothing to bring about justice.
This play however, looks at a softer, more humane, compassionate side of Caminada. What price justice, and what kind of justice was he handing these people who knew nothing else and had no means of supporting themselves without a little thievery or trickery. Caminada does some soul-searching and pleads the courts for mercy. To allow a young boy to live and not face the gallows. To let the punishment fit the crime, and to allow these people to turn over new leaves.
Written in a very Brechtian style, and suitably followed in that vein by director Malcolm Raeburn, the play presents us with a series of interconnecting vignettes which show us the criminal underworld of Manchester at that time, and Caminada's way of dealing with it. We have high drama as he chases a criminal over the rooftops, or makes a quack doctor choose between poison or the law, which is nicely juxtaposed with scenes which are almost heartbreaking with characters such as Workhouse Sally or Little Billy.
Eddie Capli portrayed Caminada as a real fully-formed human, and there was genuine heartache in his moments of self-doubt and pity; whilst he was more than capable of playing the hardman too. All the other roles in this two-person play were portrayed by Ryan Mulvey. He had the unenviable task of changing his character for each short scenelet, even playing the female roles. This was a Brechtian production so just a hat or scarf sufficed to make those changes; however, I still felt a little more distinction between some of his characters would have been optimum.
The play this evening was just a little rough around the edges, but that is perfectly understandable it being the first public performance, and given time to bed-in more it will be a most compelling piece of quasi-educational theatre. My only real criticism being that I couldn't help wondering why the company chose to perform in a police museum, when they didn't utilise the museum to its full potential. The back wall of the museum - showing a Victorian police station entranceway and oil lamp was evident but never used or referenced. The play could just as easily have been staged in a black box.
This play however, looks at a softer, more humane, compassionate side of Caminada. What price justice, and what kind of justice was he handing these people who knew nothing else and had no means of supporting themselves without a little thievery or trickery. Caminada does some soul-searching and pleads the courts for mercy. To allow a young boy to live and not face the gallows. To let the punishment fit the crime, and to allow these people to turn over new leaves.
Written in a very Brechtian style, and suitably followed in that vein by director Malcolm Raeburn, the play presents us with a series of interconnecting vignettes which show us the criminal underworld of Manchester at that time, and Caminada's way of dealing with it. We have high drama as he chases a criminal over the rooftops, or makes a quack doctor choose between poison or the law, which is nicely juxtaposed with scenes which are almost heartbreaking with characters such as Workhouse Sally or Little Billy.
Eddie Capli portrayed Caminada as a real fully-formed human, and there was genuine heartache in his moments of self-doubt and pity; whilst he was more than capable of playing the hardman too. All the other roles in this two-person play were portrayed by Ryan Mulvey. He had the unenviable task of changing his character for each short scenelet, even playing the female roles. This was a Brechtian production so just a hat or scarf sufficed to make those changes; however, I still felt a little more distinction between some of his characters would have been optimum.
The play this evening was just a little rough around the edges, but that is perfectly understandable it being the first public performance, and given time to bed-in more it will be a most compelling piece of quasi-educational theatre. My only real criticism being that I couldn't help wondering why the company chose to perform in a police museum, when they didn't utilise the museum to its full potential. The back wall of the museum - showing a Victorian police station entranceway and oil lamp was evident but never used or referenced. The play could just as easily have been staged in a black box.
ps: Bravo for supplying a proper programme! Something of a rarity these days, especially with Fringe shows. Appeciated.
Reviewer - Matthew Dougall
Reviewer - Matthew Dougall
on - 20.9.21
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