Going Green

On Saturday 19th April, I was delighted to return to Preston Playhouse to see the latest offering from The Hall Players – Going Green.

Going Green by David Tristram is a sharply satirical comedy that gleefully skewers politics, public image, and the perils of sudden conscience. The play centres on John Brown, a somewhat jaded politician whose career takes an unexpected turn when he discovers — in the wake of a bizarre medical diagnosis — that he has only a short time to live. Freed from the usual constraints of toeing the party line, Brown undergoes a radical transformation. He becomes the ultimate eco-warrior, passionately championing green issues with a zeal that unsettles colleagues, delights activists, and baffles the media.

But in the murky world of politics, sincerity is a dangerous game. As Brown’s newfound convictions collide with party loyalty, political opportunism, and his own past compromises, chaos inevitably follows. With Tristram’s trademark mix of sharp one-liners, larger-than-life characters, and escalating absurdity, Going Green delivers a comedy of errors that’s as thought-provoking as it is laugh-out-loud funny.

This version was directed by Paul Armitt, who delivered well-paced action from the outset, using a clean and simple set — mainly blacks, dotted with symbolic pieces to suggest locations and allow for quick scene changes. It was evident that this was a confident and steady director with a clear vision for the source material. The play itself is quite far-fetched, but Armitt made the sensible decision to present the whole thing with a sense of realism and sincerity, which served the text well.

The set was constructed by Armitt himself, along with Ian Kennedy, Chris Kerry, Roy Lunio, Pete Dewdney, Carol Pettinger and Dominic Swarbrick. It was dressed with well-chosen props by Gill Kerry, Orna Murphy-Horton and Maureen Nickson. Sound and lighting were used effectively to enhance the world of the play and further draw the audience into the narrative, courtesy of sterling work by Les Green and Pete Dewdney. Given the cavernous space in which the play was presented, I think it would have been a good choice to mic the performance so that the audience didn’t miss some of the quieter dialogue — a minor issue on the night.

In the protagonist role of John, James Clow gave a good account of himself. He had a lot to do over the course of the play, and the content becomes increasingly absurd as the piece progresses. Clow had good stage presence and physicality, and was generally believable as an aspirational politician. He needed to slow down and project his dialogue a little better at times, to ensure that the audience weren’t missing key lines, but as the play progressed, I felt that he really settled into the role well.

As Madeline, Suzie Evans delivered a performance that was both steady and engaging. She paced her revelations with care, allowing the audience to follow the twists of her character’s journey without feeling rushed, and her comic timing was generally well-judged, landing several moments of humour effectively. Evans projected her voice with clarity, ensuring her lines carried well across the space, and she maintained a consistent energy throughout. While the role doesn’t necessarily demand high drama, she handled its shifting beats with competence and confidence, contributing positively to the overall rhythm of the production.

Orna Murphy-Horton gave a strong and confident performance as Laura, perfectly capturing the essence of the classic over-bearing, bossy girlfriend. She embraced the character’s short temper with conviction, delivering her lines with sharpness and bite while still allowing space for moments of humour. Her expressiveness added depth to the role, with well-timed facial reactions and body language that enhanced the comedy. Murphy-Horton’s solid stage presence meant she held the audience’s attention whenever she was on stage, making her portrayal both memorable and entertaining.

Rachael Cottle gave a steady and reliable performance as Christine, supporting the action effectively and contributing to the overall flow of the production. While the role didn’t demand big, show-stealing moments, Cottle delivered her lines clearly and maintained a consistent presence on stage. Her performance provided a solid foundation for the scenes she was part of, ensuring the story kept moving at pace.

Dominic Swarbrick brought the necessary gravitas and dignity to the role of Sir Clive, lending the character an air of authority that anchored his scenes. His excellent vocal projection and assured stage presence ensured he commanded attention whenever he appeared. On occasion, his delivery moved a touch too quickly, which meant some of the finer details risked being lost, but his performance remained confident, well-judged, and a strong contribution to the production.

Frank Duxbury brought some much-needed comic relief to the play in his portrayal of John, offering a welcome lift to the more absurd elements of the narrative. He projected his voice well and interacted naturally with his fellow characters, helping to keep the energy of the scenes flowing. At times, the performance felt a little restrained, and I found myself wishing he would relax into the role more fully and embrace the sheer absurdity of the situation — something I’m confident would add even greater sparkle to his work. Nonetheless, it was a solid contribution that played an important part in the overall balance of the piece.

Of all the plays I’ve seen by David Tristram, I struggled with this one the most — but my criticisms are aimed at the structure and writing. The script isn’t as funny as some of his other work, and the narrative is a little too far-fetched for my personal taste. However, this is in no way designed as a criticism of the production itself, as The Hall Players did a brilliant job with the source material. Their usual good humour and well-constructed action were on show for all to see, and I had an enjoyable evening in the theatre.

Thanks to everyone for the invitation and hospitality, as ever, and I wish The Hall Players great success with their future projects.

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