A Vacancy Has Arisen

Random Acts Society
A Vacancy Has Arisen
Written and Directed by Annie Walthorn

It is always refreshing to attend a production that dares to be different. In a theatrical landscape where many societies understandably turn to well-loved classics and established titles, Random Acts Society took a bold step by presenting A Vacancy Has Arisen, an original play written and directed by Annie Walthorn. Knowing from the director's notes that this script has been over thirty years in the making, evolving from a university project before finally returning to Annie's hometown stage, only reinforces the passion and commitment behind this production. To write your own work is courageous. To produce and direct it for an audience takes even greater conviction.

Rather than offering a straightforward narrative, A Vacancy Has Arisen challenged its audience to think. As someone who studied Brechtian theatre at university, I was immediately reminded of Brecht's concept of the Verfremdungseffekt, encouraging audiences not simply to observe a story, but to question their own assumptions, opinions and moral judgements. This production continually asked one central question: can we truly judge a person's actions when we know nothing of the experiences that shaped them?

The immersive opening immediately drew the audience into this world, with The Judge addressing us directly as prospective applicants for the position of Judge of Conscience for the North West. It was an engaging device and one that instantly placed the audience within the action, rather than simply observing it. The play then introduced a seemingly ordinary group of characters, encouraging us to form immediate opinions before transporting us into moments from their past that challenged those very judgements. It was a clever concept that remained thought-provoking throughout.

As both playwright and director, Annie Walthorn deserves credit for handling such ambitious material. However, original work is deeply personal, and when the writer also directs there can sometimes be a reluctance to trim material that has been so lovingly crafted. Several scenes lingered longer than necessary, with exposition occasionally repeating ideas the audience had already understood. A more detached directorial eye may have tightened the pacing, allowing the play's strongest moments to land with even greater impact. That said, the themes remained compelling throughout and there was never any doubt about the sincerity of the piece or the questions it sought to explore.

Michael Gray brought authority and gravitas to the role of The Judge. His stern demeanour suited the character perfectly and gave credibility to the proceedings. Whilst the concept of referring to judicial notes fitted the role, there were moments where it became apparent that the script was being read rather than merely consulted, which slightly interrupted the illusion.

Sharon Brookes gave a believable performance as Dorothy Thistle, initially presenting a rather bitter and uncompromising woman before gradually revealing the difficult decisions and circumstances that had shaped her life. The audience's perception of Dorothy shifted as intended, demonstrating the effectiveness of both the writing and Sharon's performance. One stylistic choice that appeared throughout the production saw performers regularly stepping downstage to deliver dialogue directly to the audience rather than to fellow cast members. Whilst presumably a deliberate directorial decision, it occasionally reduced the natural interaction between characters.

Peredur Ab Alan demonstrated excellent versatility in his dual roles as Rev. Bell and John. His characterisation clearly differentiated the two men, making each entirely believable. As John in particular, he brought warmth, sincerity and quiet charm before delivering genuine emotional weight during the wartime sequences.

Catherine Griffiths offered one of the production's most touching performances as Lady Isobelle. Through subtle facial expressions, physicality and carefully observed mannerisms, she portrayed the confusion and vulnerability associated with dementia with sensitivity and compassion. It was a performance many audience members could undoubtedly relate to through their own experiences.

Rachel Burgess delivered the standout performance of the evening. Whilst her role as Rose was unfortunately hindered by an unconvincing wig that proved something of a distraction, it was as Sally that she truly excelled. Her performance was honest, emotionally authentic and utterly believable. Even in moments without dialogue, Rachel remained completely invested in her character, something that many performers find difficult to sustain. The audience felt every moment of Sally's pain and vulnerability, and her portrayal would not have looked out of place on a professional stage.

It was equally pleasing to see younger performers sharing the stage with a predominantly adult cast. Francesca Muldoon brought both innocence and vulnerability to Victoria, capturing the playful nature of childhood whilst also conveying the discomfort of situations beyond her understanding.

Martin Kelly demonstrated impressive range across his two contrasting roles. As Robert, he was wonderfully obnoxious, portraying entitlement and arrogance with conviction. In complete contrast, his portrayal of Sid gradually revealed the emotional scars left by war, transforming what initially appeared to be little more than a grumpy old man into one of the production's most sympathetic characters. The audience's changing perception of Sid perfectly reflected the central message of the play.

Kenji Tanzey approached David with enthusiasm and clear commitment. At times the delivery became slightly over-emphasised, with greater realism and subtlety allowing the dialogue to feel more natural. Nevertheless, it is encouraging to see younger performers embracing opportunities such as this, and there is clearly potential to build upon.

Jo Breen-Orr portrayed Young Milly with warmth and sincerity, allowing the audience to invest fully in her relationship with John before the heartbreak that followed. Their scenes together carried genuine emotional resonance. As Cassie, however, an ill-fitting wig obscured much of Jo's face, making it difficult to connect fully with the character, something that felt more a costume issue than a performance one.

Nathan Brown-Mair brought confidence and an excellent vocal quality to the role of Lillian. It was refreshing to see a same-sex relationship represented within the context of the 1920s, acknowledging a reality often overlooked in period drama. Initially, however, the staging left some uncertainty regarding Lillian's identity, something that could perhaps have been clarified through direction rather than performance. Alongside Nathan, Crystal Seel created an engaging partnership as Young Dorothy, with the pair displaying convincing chemistry. Crystal's physicality occasionally felt a little static, but her performance remained assured throughout.

Jack Tyson was immensely likeable as Arthur, bringing warmth, kindness and genuine affection to his relationship with Lady Isobelle. His stage presence was confident, his characterisation sincere and his interactions with Catherine Griffiths were among the production's strongest.

Claire Muldoon gave believable performances in both of her roles, whilst Susan Haydock brought dignity and grace to Milly despite the character's relatively limited stage time. Luke Foley delivered an emotionally charged performance as Young Sid, fully embracing the attitudes and expectations of a young man shaped by wartime society. His physical commitment was particularly striking, with every gesture reflecting the character's inner conflict. During the battle scenes, his intensity was palpable, creating moments of genuine dramatic impact.

The minimalist set served the production well, relying upon carefully chosen furniture and props rather than elaborate scenery. The recurring preparations for Milly's party cleverly built anticipation towards the play's conclusion. Costumes appropriately reflected each period, whilst thoughtful details, such as Lady Isobelle wearing mismatched shoes during moments of confusion, demonstrated careful attention to character. One costume choice that remained less clear was the use of white robes during the courtroom scenes. Whilst they successfully unified the ensemble visually, their symbolic purpose felt somewhat ambiguous.

Lighting by Nathan Stott remained functional throughout, although there were occasions when performers were not fully within their intended lighting states, reducing the effectiveness of some otherwise attractive cues. Sophie Hagan's sound design effectively supported the action through music and effects. However, the decision to amplify dialogue via offstage microphones proved unnecessary in a venue of this size, with inconsistent levels occasionally becoming distracting. Scene changes also felt longer than required, often leaving the audience watching a closed curtain whilst music continued. The projected archive footage of unmarried mothers added another interesting layer to the storytelling, although projecting directly onto the black drapes may have proved a more immediate and atmospheric solution than waiting for the projection screen to descend.

A Vacancy Has Arisen is undoubtedly an ambitious piece of theatre. It does not seek to provide easy answers, but instead asks its audience to reflect upon prejudice, empathy, memory and morality. Whilst a tighter pace would undoubtedly strengthen the overall impact, Annie Walthorn should be commended for having the courage to bring an original work to the stage and for inviting audiences to engage with challenging themes rather than simply observe them.

My thanks go to Random Acts Society for their warm welcome and invitation. I look forward to seeing what the society brings to the stage next.

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