Taking the Piste is a hilarious and captivating comedy-drama based on the true story of the 1970s Kirkby Ski Slope fiasco. The production dramatizes the chaotic construction of an ill-fated ski slope and a journalist's efforts to expose the project.
The narrative centres around Donald Storm (Paul Duckworth), head of Kirkby Council, who schemes to build a monumental ski slope near the M57 motorway to put the town on the map. Assisted by a builder, Geoff Ditchwater (Michael Starke), they manage to spend vast amounts of taxpayer money building a ski slope from people’s rubbish, which proves to be exactly the wrong way round.
Standing in their way are two young journalists from the Liverpool Echo, Derek Whitaker (Elliott Kingsley) and Kelly White (Hayley Sheen), who break ranks, Woodward and Bernstein style, to investigate Storm’s shady dealings and expose the grand scheme for what it is, aided and abetted by Councillor Storm’s assistant, Sandra (Holly Mimi Bernice).
The production used three sets in telling the story: the pubs The Grapes and The Railway, a cramped Liverpool Echo office and the dry ski slope itself. The latter was particularly good as it changed each time it was seen. The use of BBC2’s Ski Sunday theme just before the completed slope was revealed was genius.
Period detail is nicely observed in the costuming and the choice of music from the era adds to the contemporaneous feel.
Writer Kieran Lynn has balanced a dark, crazy narrative with fantastic comedic moments, seamlessly blending local knowledge with political satire of civic ambition, political vanity and the power of investigative journalism. The genius of his script is that he never has to exaggerate the absurdity as the facts themselves provide many of the laughs.
The actors were all at the top of their game, particularly Paul Duckworth who was superb as Donald Storm, the larger-than-life council leader determined to put Kirkby on the map whilst also making sure he lined his own pockets. He played his role with the relish of someone drunk on pints and drunk on power.
The counterpoint comes through the journalists investigating the growing scandal. What could have been a simple good-versus-bad narrative instead becomes a celebration of determined local reporting, reminding us that some of the most important stories are uncovered not by national media but by people who know their communities best.
Director John Young keeps the pace brisk throughout. The production rarely pauses for breath, moving effortlessly between broad comedy, political farce and moments of genuine human warmth. The humour is unmistakably Scouse, packed with references that drew knowing laughter from the audience, yet the themes have a wider resonance. Ambitious projects, inflated promises and taxpayers left wondering where the money went are hardly unique to Kirkby.
Every member of the ensemble contributes to the production’s success. Vicky Binns, as hard-nosed newspaper editor Patricia Grimes, particularly epitomises the balance between caricature and credibility that runs throughout the cast. What elevates Taking the Piste above a straightforward comedy is its affection for the community at its heart. While politicians, officials and opportunists all come in for their share of ridicule, the play never mocks the people of Kirkby themselves. Instead, it celebrates the resilience and humour that allowed locals to laugh at a fiasco that might otherwise have been forgotten.
By the final curtain, Taking the Piste has achieved something special. It is hysterically funny, deeply rooted in local history and surprisingly relevant. Like the ski slope itself, the story should never really have existed. Unlike the ski slope, however, this is a venture that succeeds spectacularly.
The Royal Court has long excelled at turning Merseyside’s unique history into compelling theatre, and Taking the Piste may be one of its most inspired excavations yet.
Taking the Piste runs until 18th July 2026 and tickets can be booked here,
https://liverpoolsroyalcourt.com/main_stage/taking-the-piste/
Reviewer: Adrian Cork
On: 24/06/2026
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