A masterclass in what it is to deliver a knockout performance, Michael Starke and Sarah White lure the audience in to the drama with great physical comedy, to then deliver breathtaking theatrical range, White’s visceral grief-stricken scream at the end of the play deeply resonates with its audience.
Michael Starke and Sarah White reunite near forty years after Two’s creation by Jim Cartwright, Manchester Evening News’ Best New Play of 1989, the play still packs punches and brings to light heart wrenching realities of the day to day lives of northern people. Starke and White had audiences laughing and crying start to finish, meticulous character renderings were magic to watch as they transformed through fourteen vividly different characters.
Starke’s physical comedy was outstanding; his portrayal of Moth the insistent bar flirt had the most enthusiastic reaction from the audience. The laughs continued with an epic comedic dance around the bar by Starke to Tom Jones’s ‘Kiss’, where a display of sheer sexual prowess was unleashed until a back spasm had Moth pinned to the bar. Where his long-suffering girlfriend (White) black mails him into marriage whilst dangling money in front of him. The warmth, comedy and connectivity of their performance in this scene was at its most enjoyable.
As for White her portrayal of Old Woman was particularly stand out, the physical details to the characters movement, including an arthritic limp and an aged voice gave well rounded impression of the character, as it was first serious monologue of the evening the audiences reaction was tentative caught between laughter and tears making it a really moving moment.
The two characters Fred and Alice might have been considered not politically correct in this time, but they were delivered not for laughs at their low social economic standing but a sweet couple happily in love, which was evident in their care and detail of their costume designed by Kay Buckley. The production took a green approach to costume resourcing and design.
Especially for Fred and Alice, the detail of patches and artwork in their lived clothing gave a heartfelt authenticity to these loved characters. Buckley’s set design added to the atmosphere of the piece, set in the round, the central hefty oak bar was structurally impressive, the bar flaps clacking shut acted like the heartbeat of the stage. Kieran Sing’s lighting also played a key role with a warm glow and subtle use of gobos in the shape of window frames gave impression of a classic pub interior. A medley of different lamps above the bar created a microcosm of pub life suggesting different people and places.
Finally, Lisa Allen’s direction brought it all together, the pacing, the characterisations and every scene was so different and yet cohesive making for an impressive production. Near forty years on this epic revival of Jim Cartwright’s beloved play proved bursting with timeless energy.
Reviewer: Kerry Ely
On – 10/03/2026
No comments:
Post a Comment