We Love You Arthur

We Love You Arthur is a comedy‑drama by playwright Fiona Evans, set against the backdrop of the 1984 Miners’ Strike and widely recognised for its blend of humour, political context, and heartfelt coming‑of‑age storytelling. Tynemouth Priory Theatre delivered an outstanding performance; the entire audience was captivated as the cast brought the story to life with remarkable authenticity and emotional depth.

The play resonated deeply with me on a personal level. As someone born into a mining family who lived through the Miners’ Strike, I vividly recall the conversations, the tension, and the devastation and family breakdowns that swept through entire communities. Families were fractured, livelihoods were threatened, and an entire way of life stood on the brink. This production captured those memories with striking accuracy, reminding me not only of the hardship but also of the remarkable resilience that defined the mining communities. The reference to “the Bunker” was particularly poignant, taking me back to my own teenage years when I visits there, and to the many annual trips to the Durham Miners’ Gala walking behind the banner, following the colliery band, and feeling the immense pride and solidarity of those gatherings.

Congratulations to Director Trevor Hogg, who so expertly captured the tensions and relationships that define this story, particularly within the wider context of such profound social upheaval. His direction ensured that this fast‑paced production moved seamlessly between humorous, emotional, and politically charged moments, maintaining a rhythm that kept the audience fully engaged throughout.

The set design was exceptionally well constructed thanks to Tony Hall and Hugh Mackingtosh, with the stage divided into two distinct and fully formed spaces: the grandmother’s sitting room and Lisa Jackson’s bedroom. Each area was cleverly screened and revealed as scenes transitioned, allowing the action to flow effortlessly despite the frequent changes in setting. This simple yet highly effective staging, combined with the precision of the direction, ensured that the narrative never lost momentum.

I also greatly appreciated the authentic 1980s soundtrack woven throughout the production. The inclusion of recorded speeches by Arthur Scargill, along with audio of protests and clashes between police and pickets, added historical depth and texture. These elements enriched the atmosphere and lent the play a powerful sense of authenticity, grounding the drama firmly in the realities of the Miners’ Strike.

The play follows Julie and Lisa, two teenage girls growing up during the Miners’ Strike. Their families are under immense emotional and financial strain as the community is torn apart by the social and economic conflict of the period. Despite the turmoil around them, the girls are consumed by a heartfelt and often humorous obsession with their unlikely idol trade union leader Arthur Scargill. Determined to meet him, they embark on an increasingly chaotic and mischievous plan involving questionable schemes and even the theft of a policeman’s dog, all in the hope of funding their journey to see their hero.

Lisa Jackson was portrayed by Ayla Brown and her lifelong friend Julie Spark played by Lyndsey Spark, both actors delivered exceptional performances. They brought genuine warmth, humour, and innocence to their roles, capturing the depth of the girls’ friendship with impressive stage presence and emotional authenticity. Their chemistry and energy on stage were central to the success of the production, drawing the audience into the girls’ world with charm and sincerity.

Playing the roles of Lisa’s parents were Joe Costigan as Ray Jackson and Heather Dowey as Ann Jackson, both these actors delivered strong and compelling performances. As experienced actors, they brought maturity and emotional weight to their roles, and their storyline proved pivotal to the success of the production. Joe’s portrayal of Ray was particularly noteworthy; he captured the frustrations of a man worn down by the pressures of the Miners’ Strike, the strain on his marriage, and the complications of his secret romance with his neighbour Yvonne, played with great energy by Sharon Cummings. His decision to wear a Sunderland football top on stage was a delightful touch one that earned an extra smile from me as a supporter of the Black Cats. Joe’s performance was grounded, authentic, and emotionally layered; he conveyed the inner turmoil of a man grappling with divided loyalties and a life unravelling under social and personal pressures.

Heather Dowey, as Ann Jackson, delivered a powerful and deeply human portrayal of a woman trying to hold her family together amid the current climate. Her characterisation was strong, sensitive, and richly detailed, reflecting the fear, tension, and resilience that defined so many families during the strike. Her strained relationship with her mother, combined with her determination to support both her household and the strike, was portrayed with impressive emotional depth. Heather’s performance added real gravitas to the production and was compelling throughout.

Completing the cast was Judith Bell, who played Dot Stavers, and I found myself particularly drawn to her character. Dot embodied the quiet strength and resilience so often found in matriarchal figures within mining communities. Judith delivered a warm, grounded, and emotionally performance, portraying Dot as the subtle but essential force holding the family together.

What made her portrayal especially compelling was the way she carried the weight of the family’s unspoken truths. Dot not only protected the people she loved but also guarded her own secrets with dignity and emotional restraint. Judith brought a wonderful balance of humour, tenderness, and steely resolve to the role.

Well done to Tynemouth Priory Theatre on yet another outstanding production. I thoroughly enjoyed the evening and cannot wait to see your upcoming staging of The Lady in the Van this May. I would strongly encourage anyone interested to book early for this Alan Bennett adaptation, as it promises to be another exceptional performance from this talented company.

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