Saddleworth Players’ production of Once Upon a Time in Wigan at the Millgate Arts Centre is a lively, affectionate, and ultimately thoughtful look back at the Northern soul scene between 1973 and 1981, centred on the legendary Wigan Casino. For anyone with even a passing interest in the movement, this was a thoroughly enjoyable evening that balanced nostalgia with honesty.
The play follows four characters – Maxine (Niamh Connor), Suzanne (Eleanor Prestwich), Eugene (Cameron Kennedy), and Danny (Harry Garrity) – as they navigate their lives, loves, and friendships through their shared devotion to Northern soul. Music and dance are not just a backdrop here; they are the glue that binds these characters together and the force that shapes their identities as they grow and change.
All four performances were engaging and believable, with a real sense of ensemble. Connor’s Maxine brought warmth and determination, particularly in scenes showing her juggling work in a dress shop with her passion for the scene. Prestwich gave Suzanne an emotional honesty that grounded the story, while Kennedy and Garrity captured both the bravado and vulnerability of young men driven by music, competition, and belonging.
A real highlight of the production was the video montage showing Eugene taking Maxine for a ride on his moped through the countryside. This sequence was genuinely hilarious and hugely charming, presented as a collage of snapshot-style Polaroids that flicked past in quick succession. The journey took in recognisable Northwest landmarks, including Blackpool Tower, and created a strong sense of place and identity. Even never having been to Wigan myself, it felt instantly familiar – like every northern high street rolled into one. It also quietly reinforced the idea that the people who belonged to this scene had ordinary, everyday lives beyond the dance floor, stretching outside and beyond their all-night devotion to music.
Mark Rosenthal’s direction kept the storytelling flowing smoothly, while Helen Wilkinson’s choreography was a real triumph. It was obvious that she had drilled all four actors to a standard that was recognisable both of the period and the Northern soul style, and to a level of accomplishment that was genuinely impressive. The actors moved with confidence, precision, and joy, capturing the energy and dedication required to be “the best dancer on the floor.” The choreography brought the music to life and made the dance sequences a highlight of the production.
The set was particularly impressive: a series of multipurpose blocks on wheels that cleverly transformed to mark scene changes. These housed props and adaptable scenery, from café seating to the clothes associated with Maxine’s job, allowing the action to move seamlessly without disrupting the pace of the play.
What made the production stand out was its willingness to explore all sides of the Northern soul scene. Alongside the joy, music, and sense of community, the play did not shy away from the use of amphetamines, the physical toll of all-night dancing, and the impact this lifestyle had on relationships and responsibilities beyond the Casino doors. This gave the story depth and prevented it from becoming rose-tinted nostalgia.
Overall, Once Upon a Time in Wigan was lovely, fun, and very enjoyable, while also being thoughtful and honest. Saddleworth Players have created a production that celebrates a scene etched into the cultural memory of the Northwest, showing why it inspired a nation to dance – and what it cost the people who loved and lived it.
Reviewer - Kathryn Gorton
On - 10th February 2026
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