Stags and Hens (The Remix)

Dave and Linda are getting married tomorrow and Stags and Hens, as can be guessed from the title, follows the stags and hens’ parties, which, to begin with, unbeknownst to both groups, are happening at the same venue – a Liverpool nightclub. The action takes place, most salubriously, in the public loos! The play has been described as lively, course, well organised, truthful, and very funny. Take a Bow, North West’s version was certainly all those things.

Is it dated? Yes. Has it aged well? In places. The humour and content are very much “of an era”, so knowing this, one has to leave modern judgment and sentiment outside of the auditorium and open the mind and relax the humour muscles and just enjoy it for what it is, lose yourself in the gag set ups, coarseness and heightened character traits. If you did this at this particular production, you were in for a treat, and judging by the audience reaction, it is exactly what occurred.

A friendly greeting awaited the audience and the theatre set up and set design was wholly appropriate for the piece. A split stage, stage right being the girl’s loos and stage left, the boy’s. There were no walls, these were imagined by the cast and so by their lead, we, the audience imagined them too – we completely bought into the fact that they couldn’t see each other’s antics going on in the separate toilets. The set design was obviously produced on a budget, but it worked well for the feel of the piece and the cast had no trouble utilising the cardboard cubicles etc.

Speaking of the cast…as a team, Stags and Hens were a talented and funny bunch. As much as the piece is predictable, in humour and plot, it relies heavily on characterisation and a cast’s ability and decision making, along with the directors’, to make it different or entertaining. This group had these attributes in abundance.

This was such a team effort, that one could give blanket praise, however, each individual brought something purposeful and special to their role.

In the hen party, we saw Bernadette played vivaciously by Sophia Simoes, who didn’t drop an ounce of comedy throughout, and the pace of the delivery was spot on to allow the humour to hit. Emily Hopkins gave us a brilliantly observed Carol, we all have that friend who is a Carol, life and soul but sardonic and cutting. Emily managed the balance of this gawky and gorgeous friend brilliantly and the variation in vocal modulation made for interest in the group sections. The sentimental Maureen, played brilliantly by Rebz Pyper, was rightfully fearful and sensible but played the later drunker scenes well too, when her Pernod-fuelled lighter-hearted self emerged.  Verity Flynn – Williams gave us the outspoken Frances, played ballsy, fun but with a no-nonsense attitude, particularly when it came to her best friend, the bride to be Linda. Lauren Scott-Kemp’s Linda was natural and her strong willed and philosophical nature shone through the messy hen party vibe. Well done hens!

The stag party was made up of: Dave, the groom provided by Ewan Sowerby. This is a mute but non the less near constant presence part and was in no way small or insignificant. Ewan was hilarious and some of his behaviour made for some of the biggest laughs of the evening, congratulations on the use of physical comedy and timing. Eddy played palpably on edge and slightly disillusioned by Joel Conlon, a whirlwind of angry energy that injected a more darker humour to the piece, which was welcomed. He made the audience anxious that a fist fight was never far away but also provided some proper belly laugh moments. Billy played by William Dickson - a great foil and dopey character and the would be “ladies man” Robbie performed with energy and charisma by Matt Clarkson, formed a solid backdrop to the boys’ room exploits.  Jamie Boyce as Kav provided another facet to the group, he brought a more artistic or poetic air and this played out consistently from start to finish, he brought heart and depth to the male scenes as well as comic relief. He provided a lovely energy whenever he graced the stage.

James Henderson played the ‘one that got away’, Peter, with charm and sincerity. A small role within which James managed to encapsulate the feeling of confidence that emits from someone who has managed to break away from their hometown, a sense of world maturity exuded from him and this provided a good reason for the temptation of Linda, as well as his appeal as an old flame.

The roadie and ensemble, Immy Swithern, Mahlia Pope and Becca Nowell put in solid appearances and by the programme’s information, played some named roles on the other evening’s performance.

The play was directed with pace and panache by Neil Boardman and Ben Smith. While it lacks the depth and compassion of Willy Russell’s other plays, Boardman and Smith brought out the themes of origins, identity and belonging very well. The scenes switched smoothly from one side of the stage to the other making for a pleasing experience. This tennis match style scenic breakdown made it easy for the audience to observe the contrasting perspectives side by side, highlighting toxic attitudes as well as hopes, reservations and frustrations. The drunken nightclub bathroom is a familiar, close environment which is a breeding ground for uncharacteristic vulnerability and intimacy of emotion and the direction nurtured that atmosphere. The swinging from drama to comedy mirrors the club nights and the chaos and sordidness of the ending had us reminded of the pervasive grimness of these types of nights out and as always, a glimmer of hope for the future ahead. Congratulations to all involved.

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