The Messiah

The Messiah, by Patrick Barlow, brought an air of delightful absurdity to The Green Room Theatre in Wilmslow earlier this month, showcasing a perfect blend of wit, humour, and heart. This charmingly unconventional piece, full of meta-theatrical layers and farcical moments, was brought to life by a cast that expertly navigated its comedic nuances and emotional shifts.

Richard Sails played Maurice, the pompous lead character, with superb flair. His portrayal was full of confidence and grace, making even the most demanding of his lengthy monologues feel effortless. Sails struck the perfect balance between over-the-top theatricality and genuine sincerity, keeping the audience both laughing and invested in the emotional undercurrents of the character. His comedic timing was great, and he had a wonderful knack for drawing the audience into the absurdity of the play with ease.

Steve Berrington’s performance as Ronald was a highlight of the evening. His deadpan humour was a masterclass in timing, and he had the audience in stitches with his perfectly placed pauses, glances, and physicality. Berrington's subtlety was his strength—each look, each gesture, added a layer to the character, amplifying the humour without ever needing to push too hard. His understated delivery contrasted wonderfully with the more flamboyant moments of Richard’s character, making it all even funnier.

Katja Ebrigens, as Leonora, brought a playful sincerity to the role, providing much of the music that threaded through the performance. Her facial expressions were a joy to watch, adding an extra dimension to the narrative. Though her character's role was less overtly comedic, her performance added an important sense of charm and whimsy, enhancing the overall tone of the production.

The set design, though minimalist, was perfectly suited to the play’s needs. A small, detailed miniature town on a truck and an interactive fire provided just enough to set the stage without overwhelming it. The choice to leave much to the audience's imagination worked beautifully in this context, allowing the comedy and the themes to take centre stage without unnecessary distractions. The play’s portrayal of a company working with a limited budget was a nice touch—an homage to the theatrical world it was poking fun at.

Other members of The Green Room Theatre cast in non-speaking roles and as costume assistants, and Belinda Coghlan (a talented actress herself) on prompt duty once more, showed wonderful support for the production. It was clear that this was a collaborative effort, with each playing a part in bringing this quirky piece to life.

The tech and costumes were suitably sparse, yet effective, enhancing the overall aesthetic without drawing attention away from the performances themselves. Under John Chidgey’s direction, the production struck the perfect balance between comedy and emotion, ensuring that the characters’ exaggerated traits were always grounded in sincerity. The staging, with the audience seated on multiple sides, made the experience feel more intimate, inviting the viewers to become part of the performance and the direction was fully aware and sympathetic to this Green Room configuration.

The Messiah is undoubtedly a unique and odd piece, fully aware of its own theatrical artifice. Its self-referential nature and exploration of actors playing actors kept the audience engaged and entertained throughout. Well done to all involved—this was an evening of theatre that left the audience with both smiles and a sense of warmth.

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