ROAD

Jim Cartwright’s Road is a raw, poetic snapshot of working-class life in Thatcher’s Britain, set along a single street in a northern town. Through a series of vignettes, we meet residents grappling with poverty, loneliness, hope, and despair, each story laced with humour, grit, and aching humanity. Oswaldtwistle Players brought this powerful piece to life at ReAct Studios, transforming the space into a living, breathing slice of 1980s Lancashire.

Director Adam Calvert steered the production with infectious energy, weaving in bursts of 80s disco that invited the audience to get up and dance between scenes. From the moment the doors opened, the cast, already in character, greeted theatregoers with loud, enthusiastic charm, setting the tone for an immersive night. Before the show began, Adam addressed the audience directly, noting the play’s explicit content and explaining that the character Skin-Lad’s monologue would be omitted due to illness.

The action unfolded in the round, with audience members flanking the long sides of the room and raised stage areas anchoring the top and bottom. A white road line ran boldly down the centre, marking the path through which characters appeared from their houses, the chippy, or the local pub. Cast members sat among the audience until their moment arrived, slipping into scenes with ease and emotional punch. Scene transitions were cleverly handled, often during blackouts or while attention was drawn elsewhere, offering fleeting glimpses into lounges, kitchens, and bedrooms. The ensemble delivered confident, funny, and heartbreakingly honest performances, with four screens used to significant effect for talking-head style monologues that added intimacy and texture. Adam’s direction ensured each moment landed with clarity and heart, guiding the players through a production that was as vibrant as it was poignant.

Assistant Director Jessica Coupe moved discreetly among the audience throughout the evening, dressed in black and armed with a camera, capturing candid moments of the cast in action. Her quiet presence added to the immersive feel of the night, documenting the production without disrupting its flow. Behind the scenes, Stage Manager Lee Bamford kept the show running smoothly, supported backstage by Malcolm Binns, whose steady hand ensured transitions were prompt.

The technical team, Alan Webster, and Hatham Siddique, brought Road to life with a rich palette of sound, lighting, and projection. Their work was particularly striking during the suicide scene, where cold blue tones washed over the space, creating an atmosphere that was both chilling and tender. The use of projection and sound effects throughout added texture and depth, allowing the audience to slip between reality and memory with ease. Whether it was the thump of disco beats or the quiet hum of a bedroom, Alan and Hatham’s design choices underscored the emotional rhythm of the piece, enhancing each vignette.

The visual world of Road was grounded in gritty realism, thanks to the thoughtful work of Maria Fitzpatrick and Joyce Teasdale on properties and costume. Their attention to detail helped root each character firmly in their time and place, whether it was a battered armchair, a rogue shopping trolley, or the unmistakable silhouettes of 80s fashion. Costumes felt lived-in and authentic, from shell suits and shoulder pads to faded denim and dressing gowns, each one telling its own story before a word was spoken. Props were cleverly integrated into the action, never overdone, but always just enough to suggest a kitchen, a bedroom, or a night out on the town. Maria and Joyce’s work added texture and truth to the production, supporting the actors beautifully without ever distracting from the drama.

John Dewhurst anchored the production as Scullery, the streetwise narrator who guided the audience through the shifting lives of the community. His performance was confident and relaxed, full of cheeky charm and grounded presence. He handled the transitions between scenes with ease, keeping the rhythm flowing and offering moments of humour and reflection that helped tie the whole piece together.

Rachel Bamford played Marian and Dor, offering two distinct portraits of life on the street. Marian was quiet and emotionally weighted, with Rachel bringing a sense of dignity and stillness to the role. Dor, by contrast, was sharp and dryly funny, full of bite and attitude. Rachel moved between the two with clarity and warmth, showing real versatility while keeping both characters grounded and believable.

James Hobin took on Professor, Mr Bald, and Joey, each with a different tone and texture. Professor had a touch of eccentric charm, Mr Bald was dry and knowing, but it was Joey that truly resonated, raw, emotional, and deeply affecting. James captured the vulnerability and frustration of the character with honesty, allowing the audience to sit with Joey’s pain in a way that felt brave and grounded.

Natalia Baron played Claire and Chantal with quiet strength and sensitivity. Claire had a youthful softness, while Chantal’s suicide scene was hauntingly beautiful. Natalia’s performance in that moment was understated and deeply moving, she slipped peacefully away, bringing a tear to the eye through stillness and emotional truth rather than spectacle.

Malcolm Binns portrayed Jerry in a scene delivered through projection, sitting alone on a chair as his memories played out on screen. His physical presence was subtle but powerful, using posture and stillness to convey deep sadness and reflection. The contrast between the visual storytelling and Malcolm’s quiet embodiment of Jerry created a poignant, lingering moment.

Stefanie Johnson gave two striking performances as Lane and Molly. Lane was loud and brash, full of attitude and comic timing. Molly, in contrast, was heartbreakingly quiet. Stefanie’s portrayal of Molly’s decline, from a lonely projected sequence to wandering the street in a dressing gown, jeered at by passers-by, was handled with care and emotional depth, never overplayed, just honest and affecting.

Tincie Hill took on four roles, Mrs Bald, Scotch Girl, Linda, and Curt, and brought fresh energy to each. Mrs Bald was sharp and no-nonsense, Scotch Girl had a bold, playful edge, Linda was grounded and everyday, and Curt added a layer of quiet intensity. Tincie moved between them with ease, giving each character its own rhythm and personality.

Eleanor Smith gave a heartfelt performance as Carol, capturing both vulnerability and flashes of defiance. Her delivery was natural and unforced, allowing the emotion to rise gradually. Whether sharing a quiet moment or lashing out in frustration, Eleanor kept the audience with her, offering a performance full of feeling and truth.

Hollie Colbert brought a gentle presence to Louise, with subtle emotional shifts and calm stillness. Her performance was quietly compelling, adding depth to the ensemble and helping shape the emotional rhythm of the night.

Matt Taylor played Brian with grounded ease, then turned up the volume as foul-mouthed DJ Bisto. His portrayal of Bisto was brash, funny, and full of swagger, delivered with sharp timing and a wicked grin. The contrast between the two roles showed real range and added lively energy to the evening.

Joyce Teasdale gave a warm and resilient performance as Brenda. Her scenes were grounded and honest, capturing the everyday strength of someone trying to hold things together. Joyce’s natural delivery made Brenda feel familiar and real, adding quiet emotional weight to the ensemble.

Lesley Jackson gave a grounded and emotionally resonant performance as Helen. She brought a quiet strength to the role, portraying a woman worn down by circumstance but still holding on to dignity. Lesley’s delivery was natural and unhurried, allowing the character’s frustration and vulnerability to surface gently. Her presence added depth to the ensemble, and she handled Helen’s emotional shifts with care, offering a performance that felt honest and lived in.

Matt Whalley played Eddie and Blowpipe with confidence and character, then stepped in last-minute to cover the role of Brother due to cast illness. His adaptability and calm professionalism helped keep the rhythm of the show intact, and his presence across all three roles was steady and assured.

Ryan Baron portrayed Brink with quiet intensity, capturing the character’s restlessness and frustration with subtlety. His delivery was clear and grounded, and he held the audience’s attention with stillness as much as speech, adding tension and truth to the ensemble.

Shirley Harrison gave an emotional performance as Valerie, delivered through projection. Her frustration and anger were palpable, conveyed through posture and presence with raw honesty. It was a powerful moment, full of feeling, and one that left a strong impression.

This production was a heartfelt, textured piece of theatre, full of contrast, care, and quiet power. From bold character work to moments of stillness and projection, the cast delivered performances that felt honest and deeply human. The direction, technical support, and ensemble spirit all came together to create something special: a portrait of a community in all its messiness, humour, and heartbreak.

Huge thanks to the entire cast and crew of Oswaldtwistle Player for inviting me and my plus one to their production, we look forward to many more in the future.

 

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