Theatre Review Adrift Lyceum Theatre Oldham

This is one of the final offerings in this year’s Oldham Arts Festival, performed by a Welsh theatre company called Infinity Productions. The premise is simply that of three men adrift in a boat on the Atlantic after a failed mutiny. It is also simply one of the funniest shows certainly this review has seen in long time. 

The minimalist set comprises of three boxes with a rope marking out the boat, with the movement from the waves and the expanse of the ocean left to the audience’s imagination. What makes the show so entertaining is a combination of the changing dynamics between the three characters, some very funny dialogue and numerous absurd scenarios but none of this would work without excellent acting and great comic timing, which the cast display in abundance. There are several moments of extended silence where the audience is kept in suspense to see how a specific character will ultimately react to certain ridiculous or bizarre suggestion and there is great comedy in watching the facial expression of the character pondering how to react, as if you can almost hear the cogs in his brain working out what to do.

The set sounds almost like a joke in itself, being that of an Englishman, a Welshman and an Australian alone in a boat. There is no attempt to mock racial stereotypes with the premise being that Wilbur, the Englishman, appearing to have some authority, had started the mutiny; Mr. Roberts, the Welshman is an experienced seaman who was coerced into joining it and John the Australian seems to be a man of limited intelligence who just happily went along with the suggestion. There are certainly tensions as to who is blame for the predicament in which they find themselves but ultimately, they are all quite literally in the same boat in a life and death scenario. The men are certainly in the boat for at least a month, though it is never explained what they drink to survive (presumably there is meant to be a barrel of water somewhere!).

The play very amusingly explores various aspects of their shared predicament, from trying to pass the time with petty games to trying to control their emotions (and often failing!), consider ways how they might try to get on a shipping lane and generally how they just get on each other’s nerves. The sole prop is a clothes-peg which eventually becomes of extraordinary importance as the men’s collective sanity starts to disintegrate.

This is a festival-length play of around fifty minutes which packs in an awful lot and delivers a powerful punch. The audience laugh virtually all the way through the performance, though there are moments of real pathos and tension. This really is a genuinely funny play from start to finish, with the audience kept guessing how it will end right up until the final curtain.

Reviewer: John Waterhouse

On:  9th August 2026

Concert Review This is Merseybeat Museum of Liverpool

 

This show, in collaboration with The Cavern Club, is part of The Summer of Sound a summer-long series of special musical events taking place from 24^th July – 29^th August at the Museum of Liverpool. The riverside venue will host a series of acts each Saturday evening throughout the summer, honouring the verve and heritage of Liverpool’s infamous music scene.

This show gave a musical insight into the Swinging 60’s and helped the audience experience and re-live the thrilling birth of the Mersey Sound. The show commemorated the music that launched the British invasion and changed pop music history forever. It featured the Cavern Club’s resident beat combo The Shakers, guest stars portraying pop music icons such as Cilla Black and Gerry Marsden and was hosted by Liverpool Everyman and Playhouse actor Paul Codman. The energetic production recreated the sound and spirit of Liverpool’s most exciting musical era.

Host for the first part of the show, Dale Roberts from the Cavern Club, informed the audience that it will be The Cavern Club’s 70^th birthday next year and that there will be a special exhibition held in the Exhibition Hall where this show took place. He then went on to introduce resident Cavern Club band, The Shakers, who entertained with  various 60’s hits such as ‘Some Other Guy’, ‘Rock and Roll Music’, ‘Love Potion Number 9’ and ‘Love Me Do’. There was also a nod to Buddy Holly with ‘That’ll Be The Day’.

Neil Ainsby entertained with a medley of Gerry Marsden (Gerry and the Pacemakers) hits followed by  Victoria Jones singing as Our Cilla (Cilla Black).

After a short interval, compere Paul Codman introduced the audience to hits of 1963 with The Shakers performing a medley of Beatles hits and ‘Gerry’ and ‘Cilla’ following on with more hits from the exciting musical period.

The show was atmospheric of the Merseybeat era and recreated the Mersey sound which was much appreciated by the audience who sang, clapped and danced to the hits of the 60’s. Hit songs from The Searchers, The Swinging Blue Jeans, Billy J. Kramer and The Big Three were also featured.

The show ended with all acts on stage singing and dancing to ‘Twist and Shout’, ‘Ferry Across The Mersey’ and ‘You’ll Never Walk Alone’.

It was a special, nostalgic night for many of those attending who lived through the Merseybeat era and they showed their appreciation throughout.

Full Cast List:-

Compere/Narrator - Paul Codman

The Shakers:-

Tony O’Keeffe - Drums,

Kevin Benson - Bass/vocals,

Tom Benson - Rhythm guitar/Backing vocals/Harmonica

Liam Mannion - Lead guitar/Vocals

Keyboards - Toni Baker

Cilla - Victoria Jones

Gerry Marsden - Neil Ainsby

For more information see https://www.liverpoolmuseums.org.uk/summer-of-sound.

 

Reviewer:  Anne Pritchard

On: 8^th August 2026

 

 

 

Theatre Review Everything That Should’ve Been Mill One, 1853 Studios, Oldham

This play by Jake Talbot, is one of various productions taking place across five venues in the second annual Oldham Arts Festival. Featuring essentially new writing and performed largely by Oldham-based actors, this new festival looks set to ensure an on-going platform for emerging dramatic talent from the Oldham area. A quick glance through the listing of events reveals an emphasis on hard-hitting themes and ‘Everything that should’ve been’ is no exception.

The scenario is five women meeting in a hospital treatment room, each one of them in a different decade of life, from mid-twenties to mid-sixties and what follows could be described as existentialism from a female perspective but there is too much raw honesty and energy in this play to simply dismiss it as a feminism rant. The setting is a female hospital ward so the characters have female perspectives but much of what is considered and discussed is universal and this is a play for everyone.

Each character has their own distinct background but coupled with very individual thoughts on life. The twenty-something has a bleak outlook not sure she’ll make it to thirty with her job as a waitress causing her to see all people as like glasses waiting to be broken. The thirty something is finding fulfilment in motherhood and a good marriage. The forty-something regrets several life choices, feeling as she enters middle-age that people are starting to ‘look through her’ in contrast to the fifty-something who looks back a good relationship cut short by her partner’s death. The sixty-something looks forward, contemplating people crying when she dies, humorously saying ‘they’d better!’ whilst looking back on many years of a fulfilling marriage.

There are echoes of ‘Waiting for Godot’ as the characters consider the seeming meaningless of life, both in terms of the span of life when measured in the light of eternity and the daily drudgery of boring tasks such as cleaning, washing and various jobs which just have to be endlessly repeated. There is a lot of consideration also of what might have been if only different choices had been taken at specific key moments. However, there is a lot of balance as well, with the women in different ways finding numerous things they have to be thankful for with even the twenty-something eventually realising the good sense in living for the moment rather than moping about a bad future which may not even come.

Director Miranda Parker takes a minimalist approach with the sole prop being a black block, which double up as one of the hospital beds (the other beds being represented by comfy armchairs). The block also serves as a focal point, to which all the women come for mutual support. However, there is more to this play than dialogue. A blend of mime and dance, choreographed by Jayne Sladen, is used to bring over the emotional backdrop to the setting, with emotive electronic music making is clear that none of the women are in a relaxed state, echoed in their movements which appear either robotic or restricted. The lighting in this studio theatre also serves for various moods to be created.

This is a thought-provoking play that explores the extent to which we need each other and find fulfilment coming from being with and helping others. There is certainly plenty of philosophising but this is contrasted with the joy of finding fun in the moment. After all, you can hardly spend time contemplating death in the midst of laughing with friends! Look out for more offerings from Dare to Know productions.

https://www.1853studios.com/events/dare-to-create

Reviewer: John Waterhouse

On: 07.08.26

Theatre Review Take Me Home County Road Royal Court Liverpool

 

This show, written by Adam McCoy and directed by Emma Bird, is a production which is all heart and combines unrequited aspirations, loneliness, marriage issues and community spirit wrapped around a love story in a kind of adult pantomime fashion where everything comes together and works out well in the end. It has the feel-good factor whilst being entertaining with lots of child-like humour and at the same time highlighting adult themes.

The stage set is constant, Shelly’s kitchen in Liverpool’s County Road, where her family and best friends/neighbours gather to chat and catch up with life events. Shelly’s marriage seems to have hit the rocks and she is being threatened with redundancy from a job she loves.  At the same time her heart is elsewhere, wanting to re-live her singing career and a prime opportunity arises in the form of a TV talent contest, The Next Big Thing.

The cast is made up of five actors, each bringing their own powerful, individual talents to the fore and worthy of equal commendation. Helen Carter (Shelly) delivers effortless vocals and is made for the role delivering fragility with determination and practicality, whilst Adam McCoy plays Anthony, Shelly’s next-door neighbour, delivering heartwarming camp humour with heartfelt warmth. Joan, Shelly’s mum played by Eithne Browne, a Liverpool theatre stalwart, is recognisable as a typical Liverpudlian mum looking out for her daughter and looking back at the relationship she had with Shelley’s dad, whilst also bringing her singing talent to the stage. The main thrust of the comedy is provided by Keddy Sutton as Margy. Keddy has a well-recorded history of providing humour to many local productions and with just one look can have audiences crying with laughter. She is adept in her craft with perfect timing and delivery bearing in mind her facial expressions are worth pots of gold.  She is an added bonus to any production and her skills are to be admired.  Shelly’s husband Mick, played by Lenny Wood, takes on what seems like the ‘baddie’ role but no spoilers here, only to say as his story unfolds, we see a different side to him and he delivers his role with sensitivity and understated accuracy.

The chemistry between the five actors is plain to see, as is the enjoyment they exude whilst playing their roles.

Adam McCoy’s talents are showcased as writer and actor, this being his playwriting debut and he has managed to hit the nail on the head with this heartwarming tale which will appeal to all.

Set and Costume Designer Alfie Heywood centres the narrative in the heart of the house, the kitchen, which is an excellent choice as characters can come and go from two doors in and out of the set and the kitchen window is put to good use by Margy. Additionally, audiences can relate to the kitchen as being the heart of the home creating a sense of familiarity and warmth, both in temperature and emotion.

Take Me Home County Road combines Scouse wit, which local audiences love, and family and relationship issues with well-loved country music foot-tappers. The story is relatable for audiences on many levels and along with lots of humour can also bring a tear to the eye.  This is an extremely enjoyable jukebox musical combining country classics and a story about following your dreams at any age. Take Me Home County Road is well worth an outing for, it is a heartwarming production full of positivity and will lift the spirits of all. As expected the audience were on their feet dancing and singing during the encore and showed their appreciation throughout.

This production runs from 6th-29th August 2026.

Tickets available from https://liverpoolsroyalcourt.com/

Full cast, company and creatives information available at https://issuu.com/iainchristie/docs/take_me_home_county_road_show_programme?fr=sYWEzNjkyMzU1OTQ

Reviewer:  Anne Pritchard

On:  6^th August 2026