Stags and Hens-The Remix

I had quite an entertaining night with SADOS’ Stags and Hens – The Remix.

This play was written in 1978 - and updated in 2008 as the remixed version. Its focus is on Linda’s Hen Night when she and her friends Bernadette, Carol, Frances and Maureen go to a run-down Liverpool club on the eve of her wedding. There is unease in the air (why has Linda spent so long in the toilet – is she having second thoughts?) and things get no better when the girls discover that tomorrow’s groom, David, and his friends Billy, Eddie, Robbie and Kav have come to the club for his ‘Stag’.

With David (the ultimate non-speaking role) drunk, sick and sparked out in the Gent’s loo things can only get more complicated when the group the Hens have come to see (Linda’s choice) turn out to include Peter McGeegan, an old flame of Linda’s.

Of the Hens, Jodie Schweikhardt makes a suitably mouthy Bernadette, their ‘leader’. Matilda Hoyles-Simpson plays Carol, quieter and more sensible but still keen for a night on the town and Lauren Bullock, playing Fran, is sympathetic as Linda’s young friend. I especially enjoyed Jules Jones’ performance as Maureen, worried more than ever about being left on the shelf, ever –ready to contribute ‘wise’ words to the party, but also ready to burst into tears at the drop of a hat.

Abbie Schweikhardt plays the role of the bright young woman with ideas of her own who is beginning to realise that there are more promising futures than the one which will begin in a few hours, with a nice sensitivity and skill.

Of ‘the boys’ – for in many senses that is what they are – I enjoyed Tony Kavanagh’s performance as Kav, more mature and thoughtful than the others. Andrew Rudd works well as would-be ladies man Robbie and Martin Ryan makes a very satisfactory debut as Billy. Charlie Russell, as Eddy, has a demanding role; the group’s bully who is a really unpleasant character. Maybe it’s the script, maybe it’s your reviewer’s taste or Charlie’s portrayal, but I find him so nasty as to be barely credible as a ‘friend’ to anyone.

Callum Foreman does a very good job as the ‘one who got away’, Peter McGeegan, playing a pivotal point in the play. And Jonathan Tibbs makes a good contribution as the group’s harassed roadie.

Accents are very good and consistent but this was sometimes at the price of diction, clarity and volume, with better projection needed. I had the sense that on a couple of occasions prompts may have been needed but the actors involved recovered well.

The show is played out on a practical, well-designed set split for the respective toilets where the scenes are played out and, supported by a good lighting plan, this works well. I don’t recall any ‘noises off’, eg the thump of disco music etc which would give more atmosphere.

I must say that I was never entirely comfortable with this show, which, even with its 2008 rewrite, now seems outdated. The themes are still relevant but, unlike Russell’s other better-known works (Educating Rita, Shirley Valentine and Blood Brothers) I don’t think it has aged well. The bad language doesn’t bother me – but I found most of the play one-dimensional, lacking the subtlety and opportunities for reflection that make a good play. (I note that it was originally written to be a film – maybe a quicker, sharper medium like this would tell the story better.)

Notwithstanding this I must commend co-directors Zack Colam and Callum Forman, for not only directing this play but also taking roles in it too – especially Zack, who took on the role of Kav at such very short notice.

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