Girl Gang Manchester have been around since 2016 making all sorts of work and operating as a collaboration of artists, activists and academics working together to celebrate popular culture and feminist activism. Millennial Pink sees them turn up the volume on the turntable and explore bedroom pop culture and that baptism of fire that is transitioning from girlhood to teenager to young women.
The stage of Theatre 2 at HOME is transformed into a messy teenage bedroom ready for a sleepover and that’s exactly the vibe of this production as the performers snuggle on beds and share stories, break into song and try out synchronised dance moves. The overwhelmingly feelgood factor in this show is the generous and collaborative approach of all the performers on stage and dotted through the audience. If these millennial have learned anything from their experience growing up whether positive or negative it is that we are all better and stronger coming together and supporting each other.
As to be expected from Girl Gang Manchester, this is a production high on audience participation whether it’s reading out cue cards, singing along to karaoke or learning some dance routines. By the end of the show there are a lot of people onstage, myself included as the stage becomes a dance floor for everyone who remembers what it was to be a teenage girl. This is a show high on energy and exuberance that manages to thread the delicate line between celebrating the positives and calling out the slut shamers and the casual misogyny and double standards in our Society without ever sounding preachy. I loved the energy and the passion throughout this production and although the sound needs some tweaks to ensure every performer can be clearly heard, this is a show I would definitely want to see again.
This solo production sees Stef Reynolds hold the stage confidently for a full length show without an interval, actively engage with her audience while also shifting props around to bring alive her childhood bedroom, her Grans’ council flat, the office she works in and trendy restaurants in the Northern Quarter. Reynolds may be delivering a show about a woman whose chaotic approach to life is rapidly unravelling at a rate that even surprises her but is clearly in total control throughout this piece. This is an accomplished performance that is memorable and highly engaging. Reynolds has great comic timing and her endearing goofiness blended with sharp observations pitched directly to the audience is a winning combo.
Hazel has grown up on a Manchester council estate and now lives in her Grans’ old flat which is actually owned by her absent brother. Elements of the narrative are confusing as an amusing trip to the council office to demand repairs on the property suggest a rented flat in her brothers name yet later in the production Hazel is losing her home as her brother is selling the flat. It’s a credit to the bouncy script by Reynolds and Erinn Dhesi (who also directs the piece) that these issues remain minor concerns. The central character seems both feisty and incredibly vulnerable. The relationship with her brother is as fractured as the main characters’childhood memories. This exploration of race, identity and burgeoning sexuality is never fully developed and at times is searingly perceptive and at others frustratingly hazy. The overall effect creates an nice snapshot of how childhood memories impact and shape how we view the world and how that impacts our understanding of the here and now.
Director Erinn Dhesi ensures there is lots of movement and action which keeps the pacing of the show feeling fresh and interesting. The pace however drops off towards the end of this 90 minute show. As new work it may benefit from a tighter edit but overall there is a lot to enjoy. As a performer Stef Reynolds really shines in the lighter moments as she has a natural comic timing and a real knack for engaging with her audience.
It’s that time of year again when HOME launches its biennial festival of new work showcasing and supporting local artists. This year kicks off with an interactive quiz show in the Event Space. Afreena Islam-Wright is an established theatre maker and quiz show host whose work includes Daughters of the Curry Revolution and Meet me at the Cemetery Gates. Her latest work takes the novel approach of blending a one woman theatre show with a lively quiz experience.
Tables are set with tablecloths and beer mats and each team has a tablet set up to join a speed quiz with your chosen team name and buzzer choice. The interactive quiz is a bit of a shock to the system to anyone new to the world of speed quizzing but Islam-Wright instills her audience with confidence and enthusiasm. This is a fun evening on many levels and the questions may be quite niche but are all skillfully woven around the narrative of her personal story. Interspersed through the rounds are the threads that weave the performer’s personal story as a young woman who grew up in Old Trafford as part of a very traditional Bangladeshi family and started her own family with someone outside her family’s culture. This is a work in development which shows a lot of potential especially if the intention is to use the medium of quizzing to bring theatre and storytelling into pubs across the country.
Afreena Islam-Wright
SwitchMCR are a Manchester based company comprised of graduates from the Royal Exchange Young Company. This new production BAD SCIENCE is a hi-energy, adrenaline fuelled romp that has its three female performers cast as a group of incompetent politicians scrabbling for survival within their party. Tasked to use psychiatry as a means of squashing public protest they shamelessly use the audience as a Focus Group to create a new psychiatric condition. The result is anarchic and amusing as our production created a new condition called Lemonism and its dodgy premise brought down yet another dodgy politician. The use of loud music and lively choreography certainly ramps up the generally buzzy feel of this piece. There is some nice physical comedy especially from deviser Emily Bold.
What it is love to a GODDESS? takes place on the stage in Theatre 1 and sees Maz Hedgehog retell the story of Medea and her obsessive love of Jason of The Argonauts. This is a perhaps too faithful retelling of the myth in that a sense of dynamic theatre-making risks getting lost in a slightly static monologue. MaxHedgehog is a strong and charismatic performer who leans into a sinuous and terrifying malevolence that is both impressive and commanding. Some tweaking of the movement and sound direction in this piece could ramp up the impact of this piece and enhance some very poetic writing by the performer.
Colin Connor as Frank in Faith Healer at The King’s Arms. Photo credit: Shay Rowan
Written by Brian Friel
Directed by David Thacker
The King’s Arms
It’s not very often I have the time or indeed the inclination to go see the same play twice in one week. Faith Healer at The King’s Arms on opening night was so perfectly rendered that I had to catch it again before it finished its short run. Brian Friel often writes of the rural Northern Ireland that I grew up in and he absolutely captures the mercurial aspects of a community where people have co-existed while always seeing the same world through such different prisms. In Faith Healer he takes 3 characters and gives them lengthy monologues which highlight their very different perspectives on a series of key moments they all experienced together. Within the story telling of each character there are constant threads that connect and confirm each other’s story but numerous elements that differ or conflict challenging the audience to draw their own conclusions. Director David Thacker uses every inch of the space to create an immersive vibe where the performers are placed amongst the audience so the storytelling feels up close and intimate. The result is mesmerising as the truth and the fantasy meet, merge and fade into the ether.
Small, new theatre companies such as Rising Moon Theatre rely on Fringe theatre spaces and here the venue is perfect for this play about these itinerant travellers who move around the country selling hope or as Frank says perhaps bringing the gift of letting go of the last vestige of hope. Seated on fold up chair and absorbing the slightly shabby faded grandeur of the space evokes the kind of venues that may have hosted Frank as the fantastic Frank Hardy…FaithHealer. Grace is his wife or mistress who may be from Yorkshire or Northern Ireland. They are accompanied by Frank’s manager Teddy who is a Londoner with a history of nurturing vaudeville acts.
Vicky Binns as Grace in Faith Healer at The King’s Arms. Photo credit: Shay Rowan.
The cast all give thoroughly committed performances. Vicky Binns wrings every ounce of emotion from the tortured and traumatised Grace. This is a deeply emotionally fragile woman who is untethered by grief and yearning.WatchingGrace emotionally unravel is not an easy watch but Binns imbues her character with such a plaintive poignancy and brittle dignity that her monologue is utterly absorbing. Colin Connor is Frank a wounded bear of a man who spews bluster and passion and frustration peppered with moments where his face lights up as he recalls a night in Wales where the stars aligned and he cured everyone in the room. Connor is a masterful storyteller who clearly relishes this role of the Healer both feared and reviled whether perceived as the real deal or a master of chicanery.
Rupert Hill as Teddy in Faith Healer at The King’s Arms Photo credit: Shay Rowan.
Rupert Hill is on a real creative roll recently taking the lead in his self -penned play HUSK at Hope Mill Theatre, directing an excellent production of COCKat 53Two and starring in In The Time Of Dragons at The Edge Theatre. Here he sits silently throughout the first half intently watching and listening as husband and wife relive pivotal moments from their past. A stillborn baby birthed in the back of a van in the back of beyond and buried in a field. Fights and recriminations as they travel Scotland and Wales seemingly exiled from their homeland until the great return to Ireland. Then a dark horrific night in Friel’s fictional Ballybeg where a crooked finger is cured and this momentary success sets of a terrible series of events. Hill brings a light touch to the second half weaving humour and pathos with charm and aplomb. He lights up the stage as he tells tales of past successes with such acts as a bagpipe playing whippet which seems to come alive as he describes it. Hill’s character Freddy may be down on his luck and also bereft of his colleagues but ultimately he is imbued with more hope and faith than the fantastic Frank Hardy could ever muster.
This is the real deal when great writing, a good Director with vision and a strong cast open to taking risks come together and create theatrical alchemy. This production hit all the right notes with its immersive feel ramping up the intimacy and inviting the audience to have faith in what happens on stage and trust the process. Having been on the receiving end of rural Irish faith healers on numerous times growing up its a strange sensation when it works. It feels like a warm sense of satisfaction that envigorates the mind and body and restores the spirit with a sense of bliss. If Frank nailed it in a hall in Wales and cured everyone there then I think Thacker and his team may have achieved a similar success rate in a pub in Manchester.
Le Gateau Chocolat in I Wish at HOME MCR Image credit: Shirlaine Forrest
Created by Le Gateau Chocolat, Rachel Bagshaw and Seiriol Davies
Directed by Rachel Bagshaw
HOME MCR
Most of us grow up absorbing Fairy stories throughout our childhoods whether in books, Disney movies or Pantomimes. How many of us have ever wondered what happens after the final dénouement and those fateful words And They All Lived Happy Ever After…? Thankfully Le Gateau Chocolat has gone above and beyond for all us curious adults and wide eyed children and unleashed his inner Fairy Godmother. The suitably fabulous and glittery Effie is about to celebrate her brumble thrillionth wish and seems confident that all her work has been of a high calibre until her bubble suddenly pops.
Colourful and vibrant, the costumes look like Effy has raided the dressing up box via a crash course prepping for Rupaul’s Drag Race and a trolley dash through a sequin factory. The costumes and set design by Ryan Dawson Laight has a frothy, magical quality with a backdrop that allows for plenty of costume changes as Le Gateau Chocolat speedily recreates characters that allude to Cinderella, Peter Pan and Snow White. There is loads of audience interaction allowing children to get up close to the fabulous costumes and really connect with the magic that is happening on stage.
The voice over Narrator is Julian Clary whosecalm butquizzical tone is an excellent foil for Effies exuberant confidence. The ensuing exchanges start to deconstruct these famous fables and discover some troubling issues. In this quirky production the audience and Effie consider how it really was for a Peter Pan character to never grow up but just watch from afar as their loved ones live, love and thrive without him. What if the fairy Godmother gave a young girl the opportunity of a lifetime but then left her to make her way up the steps to the castle ball without checking if she needed wheelchair access? Or could making someone incredibly beautiful potentially cause them to become a raging narcissist? Effie scores big when it comes to heart and eyelashes but may need to reconsider her health and safety policy. Thankfully Effie has an (eff)iphany and suggests to her young audience that we are all better together when it comes to making our wishes come true.
The music and lyrics by Seiriol Davies are witty and delightful, covering a range of styles and allowing Le Gateau Chocolat to showcase his rich baritone voice to full effect. This is a charming piece of theatre designed for young children and it’s message of the benefits of cooperation and inclusion is definitely on point. This sweet production has all the heart one would expect from Le Gateau Chocolat and it is great to see this fabulous performer back on stage after a serious illness earlier this year. Having seen DUCKIE at CONTACT and now I WISH, it’s good to be reminded of the importance of making theatre for young children that is relevant and memorable.
The Lion, The Witch and The Wardrobe 2022 West End Production. Image credit: Brinkhoff-Moegenburg
Based on the novel by C.S. Lewis
Based on the original production by Sally Cookson
Directed by Michael Fentiman
Leeds Playhouse
I still have all The Chronicles of Narnia books from when the they were given to me as a child. I remember being told the famous writer came from Northern Ireland and Narnia was inspired by our local landscape. A child’s imagination paints their own rich and unique vision from the words on the page. This theatrical adaptation directed by Michael Fentiman certainly delivers on both an epic and touchingly intimate level. The setting of the stage in The Quarry Theatre works beautifully. The opening scene is a lone soldier clad in his great coat and steel helmet quietly playing piano below a huge clock face. As the cast slowly gather on stage to the strains of We’ll Meet Again, the scene is set to meet the four siblings being evacuated during WWII who are heading for not only an unknown place in Scotland but a magical trip through a wardrobe that will lead to Narnia.
The four adult actors who play the sons and daughters of Adam and Eve do a good job of evoking the children. Joanne Adaran and Jesse Dunbar exude decency and earnestness as the elder Susan and Peter. Bunmi Osadolar gives Edmund all the sullen intensity and greedy spitefulness of an angry young boy while Kudzai Mangombe really shines as the pure hearted Lucy, The Bringer of Light.
Alfie Richards charms as Mr Tumnus the kindly fawn, and Ed Thorpe and Anya de Villiers are excellent as Mr and Mrs Beaver helping to lead the resistance in Narnia. StantonWright is the noble human face of Aslan the lion and Kraig Thornber is wonderful as the wise and benevolent Professor. The star of the show is Katy Stephens who is magnificent as The Snow Queen. Every second on stage she oozes imperious cruelty as she tries to hold her power over Narnia. As Aslan returns bringing Spring and her power starts to ebb away, she ramps up her evil ways shearing the mighty lion and wearing his pelt as a war trophy.
The set and costume design by Tom Paris is gorgeous. Sumptuous costumes for the Snow Queen create drama and some spellbinding moments especially when she rises up over Narnia floating with gauze robes descending ethereally across the stage as the snow falls steadily. Set changes are so smooth and fluid that they ramp up the magic as one moment Lucy is in the cosy woodland home of Mr Tumnus and the next she joins her siblings at a the dining table for kippers with The Professor.
The puppetry by Toby Oliver and Max Humphries gives Aslan an ancient feel as this is no cuddly lion but a rather an ancient creature that almost seems like a terracotta warrior. Schrodinger the cat has the mangy look of an elderly beast and is imbued with all the character of a wise old family cat. The puppetry merges seamlessly with the human performances and the magic and illusions by Chris Fisher to give the production all the wow factor to be expected from a big West End production. Many of the cast are multi instrumentalists and the music by Barnaby Race and Benji Bower has a folky, whimsical feel with elements that feel like klezmer music.
The overall feel of this production is just beautiful. The deeply Christian and moral background to this story by C.S. Lewis is always present with its battle of good over evil and the redemptive journey for Edmund coupled with the willing sacrifice by Aslan and his subsequent resurrection. They may hark back to a better, possibly more noble era but as we approach another Christmas and a beckoning new year there is a certain comfort to be taken from being reminded that good can overcome evil if we unite together like the beasts of Narnia.
The cast of The Rock ‘n’ Roll Panto Rapunzel 2024 at Liverpool Everyman Image credit: Marc Brenner
Written by Jude Christian
Directed by Francesca Goodridge
Liverpool Everyman
With every passing year Panto season seems to come round quicker and this year is no exception. My first this year is at Liverpool Everyman and the weather heading into the city is a sleety blizzard with high winds guaranteed to wreck any freshly coiffered mane. Thankfully there is a warm welcome inside the Everyman and a thoroughly cheery production on the stage. Jude Christian has taken this classic Panto staple and set it in Liverpool with two hairdressing salons battling it out to the final blowout while a feisty Rapunzel escapes her prison and discovers family, friendship and freedom. This rock ‘n’ Roll take is full of crowd pleasing musical numbers and a multi-talented cast perform, sing and play all the instruments on stage.
The set and costume design by Janet Bird works brilliantly. The colourful stage on two levels with a magnificent four poster bed making frequent appearances is all bright pastels and glistening with glitter. The overall effect is a fun blend of a Barbie house merging with an Andy Warhol exhibition. The costumes are equally vivid and are further elevated with elaborate hair styles that look straight out of a Manga comic book. The Dame’s costumes are wittily designed to illustrate her ownership of the now fading salon The Blonde Bombshell. Decked out as an iconic Marilyn Monroe, a Scouse take on Lady Gaga’s infamous meat dress or as Madonna in a Gaultier conical corset while heavily pregnant; the designs all guarantee laughs for an on form MichaelStarke as Debbie UpDo.
Ai Kumar as Rapunzel at Liverpool Everyman Image credit: Marc Brenner
The multi-talented cast seem to relish in Francesca Goodridge’s lively fast paced production and the audience interaction is skillfully done and very effective. Adam Keast is a delight as Fairy Fixer-Upper and his blend of fey charm, mischievous asides and double entendres land well and make for good entertainment for all ages. Zoe West makes an excellent baddie as Mancunion rival Danny Ruff posturing like an overcharged quiff of testosterone as he tries to ruin his old Boss. Ai Kumar as Rapunzel and Rebecca Levy have great chemistry as the sweet duo seeking to escape the salon and find both independence and love. They are both vocally strong and provide a number of beautiful duets. Tomi Ogbaro and Emma Bispham are the salon assistants Trevor and Goop. The former is a hapless sweetheart while Goop is clearly modelled on the implacable Nessa from Gavin and Stacy. Ben Boskovic as Prince Timotei brings a nice silliness to the proceedings as the medieval Prince who seems a dead ringer for Lord Farquaad complete with his trusty steed Ed SheerRam.
Zoe West as Danny Ruff and Michael Starke as Debbie UpDo at Liverpool Everyman Image credit: Marc Brenner
The musical numbers include Daytripper by The Beatles, a Blondie medley, numbers from Shania Twain, Lady Gaga and Queen. They all flow neatly within the script and involve a wide range of instruments played by all the cast. A genuinely fun night out for families that is colourful and entertaining with lots of surprises and laughs guaranteed. This is definitely a trip to the theatre where everyone is guaranteed to let their hair down and have fun.
Peter Keeley in That Love Thing Image credit: Natalia Riga
Created and Performed by Peter Keeley
Directed by Mike Shepherd
HOME
Mancunion writer and actor Peter Keeley has cerebral palsy and is a wheelchair user. This Love Thing showcases his poetry and his love of music, old movies, biscuits and romance. In a series of conversational and dramatic vignettes Keeley deftly and wryly shows himself as way more than the ignorant and often cruel stereotypical perceptions of disability. This is a guy whose intelligence, wit and sex drive are every bit as powerful as his favourite wheelchair the mighty Meteor. Alongside him on his journey through his life stories is his companion and fellow actor/writer Michael Begley. Together on stage the warm companionable energy and easy affection is reminiscent of a quality comedy double act from a bygone era.
On a stage littered with vertigo challenging ladders are old fashioned tea trolleys, record players and television that hark back to the past. They exude charm while the imposing ladders hint at barriers to certain hopes and dreams. Moments where Michael whispers bitter comments on disability that are robustly challenged by Peter are perhaps hints that it’s time to leave old fashioned views of disability behind and look with fresh eyes at the person and not the chair they sit in.
There is a lovely energy to this production with Director Mike Shepherd using that sense of magical whimsy that Kneehigh do so well. The use of masks and puppetry to bring to life the spectre of Mr C.P. as a satanic influence on Peters life is playful and dramatic but highly effective as a description of living with cerebral palsy. The choice of songs such from artists such as Leonard Cohen, The Velvet Underground and James illustrate the themes of love and loss. They play alongside poetry from Keeley and tell of human desire and the frustrations of living with cerebral palsy but also the poignancy of bereavement and grief. The writer’s mother was a midwife who had safely delivered so many babies for others but the birth of her twin boys in the hospital she worked was difficult and both babies were born with cerebral palsy.
Peter Keeley and Michael Begley in That Love Thing. Image credit: Natalia Riga
Peter Keeley seems utterly at home on stage and delivers a truly charming performance. Michael Begley sings, dances and slithers up ladders as the sinister Mr C.P. while carefully ensuring that this show flows but keeps Keeley first and foremost throughout the production. At an hour long this is a brief but highly memorable window into one man’s life. Perhaps the next outing may even introduce the mysterious, much desired Miss Jones…I do hope so…
John O’Neill, Joe Gill and Hannah Ellis Ryan in COCK at 53Two. Image credit: Shay Rowan
Written by Mike Bartlett
Directed by Rupert Hill
HER PRODUCTIONS/ Up Ere Productions
53Two
This 2009 play by Mike Bartlett caused quite a stir in London and New York when originally staged. The dilemma of a man hopelessly procrastinating over whether to choose to continue a life with his male partner of seven years or start afresh with a woman he has recently met when on a relationship break makes for an interesting premise. Perhaps originally viewed as a gritty exploration of a gay man trying to come to terms with being bisexual, COCK is much more nuanced. This Pinteresque drama is a blistering analysis of one man’s indecisiveness as he wrestles not just with his sexuality but his very sense of Self. Seemingly powerless to make a clear decision in his personal life, this production highlights just how destructive and controlling John’s behaviour is precisely because of his wavering. His partner M and new lover W are seemingly locked into this love triangle by John’s unwillingness to choose one of them as he refuses to label his sexual desire. Is he simply a selfish man wanting his cake with extra cock and cunt or is he genuinely torn with a human desire that defies a neat societal label?
Director Rupert Hill confidentlytackles the complex issues raised in this meaty play. He is ably supported by a very strong cast. Joe Gill is John, the procrastinating partner whose wavering indecision makes him oblivious to the cruel impact his actions have on M and W. Gill gives John a certain likability despite the pain he inflicts on those he loves. There is genuine poignancy in this internal struggle with identity and the societal pressure to conform to the expectations of others. John O’Neill bristles with raw hurt, frustration and insecurity and misogyny. Totally immersed in his character his performance is mesmerising even off stage when he watches John and W with an almost voyeuristic intent.
John O’Neill and Joe Gill in COCK at 53Two Image credit: Shay Rowan
Hannah Ellis Ryan is gutsy and vibrant as W; intensely set on getting John to choose her. It’s easy to see the attraction she draws from John as her character enthrals him with her positivity and enthusiasm. The scene where John discovers heterosexual sex is witty and perfectly pitched and Ellis Ryan nails it. With legs akimbo at one end of the bare stage, she gleefully sets the scene with a pose reassembling a goalpost awaiting a winning penalty goal. Colin Connor is the father hell-bent on protecting his son’s relationship with a mixture of floundering confusion and genuine love for both men. This performance adds real rich humour and warmth to the dinner party from hell as the other chief protagonists battle over John.
It’s a credit to the production and the actors that some of the raw edges in this Bartlett play matter less than they should. It would be easy to dismiss John as not worth either characters love, or wonder if W is not just a tad obsessed or that M is coercive and controlling. Instead the focus is on the electrifying energy on the stage which seems powerful enough to charge the four lamps that mark the corners of this otherwise unadopted stage. The sound arrangement by Alec Waters is the only other adornment to subtly reflect the emotional charge onstage and does so very effectively. The closing scene gives no really satisfying conclusion and here it doesn’t need to as the acting itself is the icing on this cake.
Roberta Kerr as Kay in KIN at HOME Image credit: Shay Rowan
Written by Christine Mackie
Directed by Sue Jenkins
Her Productions and Best Girl Productions
HOME
Two sisters-in-law come together to bury one man. Robert was a husband to Kay and a big brother to Steph but as the play unfolds it would appear that Robert was so much more as family secrets are revealed and his grieving wife discovers she has just buried a man she barely knew. So far so good in this all female led, meaty saga written by Christine Mackie. This is gutsy, character led drama written to celebrate story telling for women of a certain age and it certainly delivers on all those fronts. There is gritty realism, high drama and even a few post- menopausal punches… weilding fists not fans!
This dark family tale with multiple twists and turns is further strengthened by assured performances from both leads in this two-hander. Roberta Kerr is excellent as Kay, a working class woman who has forged a successful independent business career despite marrying old money in the gentrified Robert. Her performance veers from brusque, pragmatic keep calm and carry on to moments of desperate hurt and pure rage and consternation as Steph blithely tears her world asunder. Kerr makes every moment and gesture count ensuring her on stage presence commands your attention. Steph is equally complex but is a harder watch on stage as her story arc unfolds. Kerry Willison-Parry does a great job delivering many of the witty one-liners as the feckless youngest daughter in a blue-blooded family full of dark secrets. However her character is by turns so utterly loathsome and irritating that it is difficult to feel genuine empathy and affection for this damaged women who has never really grown up and matured. Even in the final moments of the play it seems like her attempts to mother effectively will require Kay to mother her.
Kerry Willison-Parry as Steph in KIN at HOME. Image credit: Shay Rowan
These two women unpick the historic family dynamics in a way that repeatedly pulls them closer then blows them apart until a potentially redemptive ending that may just herald a new beginning for both of them. Director Sue Jenkins ensures that the bleaker dramatic moments are laced through with a blend of dark humour, tea and Chardonnay. There are however concerns where occasional moments of slightly hammed up humour land awkwardly and risk some of the more harrowing events in this production losing their full emotional impact. I can only commend both actresses for maintaining their composure in a particularly poignant scene despite several audience members guffawing throughout a scene that deals with some incredibly sensitive topics. This full length play has all the elements of a juicy Radio 4 play or the Christmas evening episode of a major Soap opera. It’s great to see women writing and creating vivid stories together for themselves and for each other.
