Hobson's Choice

It was a pleasure to attend Broughton Players’ production of Hobson’s Choice by Harold Brighouse, performed at Preston Playhouse as the society’s 80th anniversary production. A full house created a lovely atmosphere from the start, and it was clear that the audience were very much looking forward to seeing this classic Lancashire comedy brought to life.

Hobson’s Choice may be an older play, but in Preston it still felt very relatable. Its humour, family arguments, local references, pride, stubbornness and sharp observations on class and independence all landed well with the audience. The play is rooted in Salford in 1880, but its themes stay familiar: a domineering parent being challenged, young people finding their own way, and the value of hard work, skill and self-belief. It is also a play that needs careful handling. If the pace drops, it can feel dated, but when the rhythm is right, the writing still works extremely well. On this occasion, the structure and pacing were excellent, and the comedy was allowed to breathe without ever feeling laboured.

Director Christine Odlum did a good job with the production. She kept the piece traditional, which I felt was absolutely the right choice. Hobson’s Choice needs a clear understanding of period, place and social order, but it also needs warmth and timing. Christine allowed the characters to feel rooted in their world, while keeping the story moving. The humour came from the people and their situations rather than from trying to modernise the piece. That helped the play feel honest and accessible, and the audience responded warmly.

The stage was used well, with the cast moving confidently through the shop and family spaces. The production had a clear sense of place, and the relationships between the characters were easy to follow. The set, designed and built by Michael Hurley, Chris Gay, Nick Lowe, Paul Adamson and members of the society, gave the company a practical playing area. It included larger pieces of furniture and a staircase, which helped create the world of Hobson’s shop and home. The trap door downstage was used very effectively as the entrance to the area beneath the shop where the workmen worked. Trap doors can add a great deal to a production when they are used with purpose, creating surprise, comedy and another level to the stage picture, and this one was handled well. It brought some lovely comic moments and added something extra to the play. The set was functional, but a little more detail would have helped give the production a stronger period feel. There was also a lengthy change between Act III and Act IV, and this did cause the audience to disengage slightly. This is always difficult, especially when the play has been moving along well. I had seen images posted on Facebook beforehand which appeared to be AI-generated, and these gave a slightly different impression of what to expect visually. That said, the set did its job and the cast worked well within it.

Ben Perkins was a standout as Henry Hobson. Hobson is a gift of a role, but it needs more than just shouting and bluster. Ben found the comedy in the character without losing sight of his stubbornness, pride and weakness. He gave Hobson plenty of presence and timed the humour very well. His reactions were particularly strong, and he understood how to hold the stage without overplaying. The audience clearly enjoyed him, and he gave the production a strong centre.

Rebecca Moon was excellent as Maggie Hobson. Maggie is the engine of the play: intelligent, practical, determined and always a step ahead. Rebecca captured all of that beautifully. She had strength without making Maggie hard, and she gave the character a quiet emotional depth beneath the confidence. Her scenes with Will Mossop were especially well judged. Maggie can sometimes be played too severely, but Rebecca made her believable, capable and very human. She was one of the great strengths of the production.

Jack Price gave a wonderful performance as Will Mossop. Will’s journey from shy, under-valued bootmaker to confident businessman is one of the most satisfying parts of the play, and Jack handled that evolution with real care. His early awkwardness was very funny, but never forced, and as the character grew in confidence the change felt earned. His physicality, voice and timing all helped show Will’s gradual transformation. His partnership with Rebecca Moon’s Maggie was one of the highlights of the evening, and the audience were clearly invested in them.

Kate Grayson as Alice Hobson and Katie Bashforth as Vickey Hobson worked well as Maggie’s younger sisters. They brought a nice contrast to Maggie’s directness and helped establish the family dynamic clearly. Their frustration with Hobson, their hopes for marriage and their reactions to Maggie’s plans were all played with good comic awareness. They also highlighted the different expectations placed on women at the time, which is one of the important themes running through the play.

Hamzah Zaman-Ali as Fred Beenstock and Adam Mayne as Albert Prosser both gave confident support. They fitted well into the world of the play and worked effectively with Alice and Vickey. Their characters bring a different social tension into the Hobson household, and both performers handled the comedy and period style well.

Patrick Gardner as Jim Heeler brought good humour and character to the role, while Steve Hall as Dr. MacFarlane gave the later scenes clarity and authority. Steve was also credited for Sound and Lighting, alongside Antony Leadbetter and Victoria Martin, and the technical side of the production supported the play without drawing attention away from the performances.

Georgia Gilbert made a good impression as Ada Figgins, and Janet Hindle brought presence and purpose to Mrs Hepworth. Mrs Hepworth is an important role because she helps set Will’s future in motion, and Janet made that moment land clearly. Chris Turner as Tubby Wadlow added well to the shop environment and helped populate Hobson’s world.

The whole cast worked well together, and there was a robust sense of ensemble. Nobody felt out of place, and the relationships between the characters were clear. The jokes landed well throughout the evening, and this was helped by the cast trusting the writing and not rushing the humour. It was funny when it was meant to be, but there was also enough truth in the performances for the story to matter.

The costumes, by Jane Tudor, Maria Adamson and Kate Adamson, were in keeping with the period and helped support the world of the play. The general look was appropriate and worked well on stage. Hair and make-up also suited the style of the production. There were, however, a few modern details that stood out, including digital watches and, in one case, long French-polished acrylic nails. These are small points, but in a period piece they can catch the eye and take the audience briefly out of the world being created. Overall, though, the costumes supported the production well.

Properties were handled by Stella Judson, Janet Dawson and Georgia Gilbert, and these helped establish the shop setting and period feel. In a play such as this, props are important in supporting the everyday details of Hobson’s world, particularly the working life of the shop and the domestic setting around it. Marion Yardley was credited with continuity, and the production had a clear flow and sense of order.

Chris Gay as Stage Manager deserves recognition for keeping a busy production moving. There were logistical challenges, particularly with the set changes, but the evening was well organised overall. Jamie Mahran provided backstage help, and the work behind the scenes helped support the cast and the pace of the show.

It was also good to see the production supported by Tara Kennedy, Maria Adamson and Kate Adamson for marketing and photography. For an 80th anniversary production, it is important that the society’s work is visible and celebrated, and there was a sense of pride around the event. The programme also gave special thanks to all front of house volunteers, Carol and Gillian – On Stage Costume Hire, Junction 4 Property Hire, LAT Creative Design, Print & Digital Imaging, and Clarks Shoes, Preston, for the multitude of shoe boxes. These contributions all help make productions possible, and it is right that they are acknowledged.

One of the most pleasing aspects of the evening was how much the audience enjoyed it. The house was packed, and the laughter throughout showed that the play still connects. That is not always easy with a classic text, but this production understood the rhythm of the piece and trusted the characters. The local feel of the story made it even more engaging for a Preston audience, and there was a real warmth in the room.

Overall, this was a very enjoyable and well-paced production of Hobson’s Choice. Christine Odlum and the company respected the tradition of the play while making it feel alive for a modern audience. The production was at its strongest in the performances, particularly from Ben Perkins, Rebecca Moon and Jack Price, who were all excellent. The set could perhaps have offered more detail and smoother transitions, but the strength of the acting, the clarity of the direction and the audience response made this a successful anniversary production.

Congratulations to Broughton Players on 80 years of community theatre, and to everyone involved on stage, backstage and front of house for a warm, funny and very well-received evening.

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