The Newspaper Boy

53Two

Written by Chris Hoyle

Directed by Simon Naylor

A Dibby Theatre production

Part of Queer Contact 2018

From start to finish The Newspaper Boy is a real joy to watch. Writer Chris Hoyle has such a natural ear for dialogue and a genuine affection for his characters ensuring they are all warm, earthy and colourful. The look and feel of this production is absolutely 1992 from the iconic television ads to the music of New Order and the clothes by John Richmond and Comme des Garçons. This is a real labour of love and perfectly evokes the joy and the anguish of coming out in the Nineties.

The cast do a great job as an ensemble. Christian is on a high speed trajectory from Moston to Didsbury via the nation’s tv screens and Daniel Maley is great as the naive, awkward boy who may be growing up too fast but is having a brilliant time until the newspapers break the scandal. He has the super confident soap veteran Mandy as his ballsy guide to drugs, clubs and fashion. Hollie-Jay Bowes is totally believable as the sweet ingenue/spoilt brat/faghag who just wants to get wankered and not have another cute guy love her like a fucking sister!! The fifteen year old Christian falls in love with the older boy Max who Sam Retford embodies with charm and genuine honour and sweetness.

Director Simon Naylor directs the sex scenes with genuine tenderness . This is a coming of age in a really special and joyful way that is later brutalized and cheapened by an ignorant media obsessed with the moral high ground and the desire to sell newspapers. When Christian says I’m proud of us it is said with a naivety about the personal, social and possible legal repercussions. Regardless of this Chris Hoyle has written young love in a joyous way that anyone could be proud off.

The older cast members bring additional depth to this story and of course were young people in the Nineties so can draw on their experiences. Eve Steele gives a chilly television executive in Burberry and heels but blisters with her genius take on a Manc drug dealer on the club scene. Samantha Siddall as Christian’s Mum is perfectly cast as the proud parent basking in the glory of a famous child while still worrying for his well-being. Karen Henthorn is just brilliant as the feisty, chain smoking Gran who adores Christian. Her performance shifts from impish to red eyed and broken, with the stuffing knocked out of her as the scandal unfolds.

The staging works really well and built over several levels allows for creative space to move the action on stage across a range of settings. The family home in Moston to soap star Mandy’s place in Didsbury via Flesh night at The Haçienda and the Granada studio offices and the set for famous soap Mancroft Walk. The energy ramps up a gear as a throng of tv crew thrust through the audience to film another scene on set. The audience are watching this unfold on stage while overhead monitors play out the filmed scene. A large tv screen above Christian’s bed shows scenes from the soap as the family watch Christian and Mandy on scene as the young lovers. Interspersed with iconic Nineties ads for Gold Blend and Milky Way the feeling of slipping back 25 years becomes stronger and stronger. It is a clever and impressive use of this small, bustling theatre. 53Two is quickly becoming a hugely exciting space to see theatre in Manchester.

Based on some of Hoyle’s personal experience as a child actor on Coronation Street, this play highlights the hypocrisy of television programming that storylines teenage pregnancy by a teacher but baulks at teenage gay sex with another young man. Staged as part of Queer Contact 2018 this is a funny and poignant take on an important subject.

Images by Richard Kelly

At 53Two until Saturday 24th February

The Manchester Project

HOME

Monkeywood Theatre Company 

Director: Martin Gibbons

The Manchester theatre company Monkeywood have created The Manchester Project as a celebration of Manchester and what it means to be Mancunion. Manchester is home to all the 19 writers and the actors involved and fittingly it is being performed at HOME.
On the stage are a series of simple white cubes and hexagonal blocks which evoke the honeycombs of a hive in which the Manchester we know interconnects and holds our creative worker bees/Mancunions. The bee has been  our symbol since The Industrial Revolution and adorns the mosaic floors of our Town Hall, our public bins and the tattooed skin of a community resilient in the face of terrorism. 

It is easy to think of the Manchester we know as portrayed by Coronation Street or on the music tours with The Haçienda and The Salford Lads Club or the rousing poetry of Tony Walsh or Mike Garry. What Monkeywood have done is to give a voice to the wider arena of the whole city spread across 19 tiny plays that criss cross the City from Chorlton to Droylsden to Middleton to Rusholme and back to its core the City Centre. 

First up is Reuben Johnson performing his own piece Little Hulton. Opening with a blast of fresh energy he moves across the platforms recreating the playgrounds of his childhood like a bee between flowers. This beautiful, questioning piece conveys a sense of attachment- we may leave this city but it has the power to pull us back.

Reuben Johnson – Little Hulton

There are five actors on stage and 19 plays. It is astonishing and impressive how the actors power through such a range of varied pieces without pause or break. There is a lot to take in as each tiny play is packed with poetic imagery. The brevity ensures that each writer wants to make every single work count and create impact.  The direction by Martin Gibbons creates a sense of flow which is seamless and elegant. The music used is a smattering of iconic tracks opening with Joy Division Love Will Tear Us Apart and ending with Buzzcocks Ever Fallen In Love. The Manchester bands and the buzz of a solitary bee mesh these little gems into a cohesive whole.

We flit to Levenshulme where the tone is gritty and sarky and the image is of meat raffles and possible hook ups at the weekly nude bathing sessions. James Quinn and Curtis Cole are clearly relishing the words of writer Gareth George. Prestwich by Becky Prestwich brings the lions of Heaton Park and the largest mental asylum in Europe. Eve Steele really shines as she evokes the sense of being different or other whether in spirit, religion or ethnicity.

Timperley conjures up the iconic Frank Sidebottom while Rusholme revisits the bee with the black and yellow uniform of a school born from Manchesters’ proud history of female emanicapation. Rebekah Harrison’s Droylsden is a poetic, tender and evocative portrait of a young soldier not forgotten by his community. Meriel Schofield and James Quinn bring quiet dignity to a piece that reminds us of the losses and sacrifices that run deep in the story of every community. 

Old Trafford glimpses the memory of the cosy domesticity of a couple in their first home with an image of a couple dancing in their kitchen while over in Burnage a cab meter is running and there’s Sunday dinner at Our Kids. In Middleton we queue in Tommy’s Chippy with writer Chris Hoyle who vividly portrays small minds, small town chatter as he prepares for his escape to the City centre via the newly “done up” bus terminal. A young homosexual given joyous opportunities to explore in Canal Street.

Chris Hoyle – Middleton

Didsbury reminds us of Manchester’s rich, musical heritage where everyone seems to have a story in their front room. Samantha Siddall explores heritage and what we hold dear in our community in Denton as a town planner looks at the outcome of his work. Chorlton has the largest public graveyard in Europe as Becky Garrod recalls family strolls and rituals. Withington sees James Quinn relish the closure of Greggs as Pasta La Vista as old and new businesses try to co-exist in the community.

Ian Kershaw writes poignantly of Harpurhey with the racist comics in The Embassy Club and the horrific burning of the local dogs home. The tram stop at Cornbrook is a bleak, blank canvas yet peel back the layers of history and Eve Steele and Sarah McDonald Hughes see Pomona Palace with the magic of lions and tigers in its pleasure gardens. 

Cathy Crabb takes us back in time to a pub in Failsworth where Meriel Scholfield brillantly evokes a truly beautiful man Ernie Jump, whose front teeth are fashioned from Scrabble blocks. In Moss Side despite stereotypical expectations Curtis Cole conveys kindliness and humour and carnivals without the risk of being shot or sodomized! Sarah McDonald Hughes deftly paints Flixton as having little of merit bar differing sized fields yet there is still fun to be had in a place where nothing happens. 

Eve Steele – City Centre

The closing piece by Eve Steele is of course the City Centre and what a celebration it is. I fucking love town. It is a passionate love poem to Manchester city centre for being my place as a mad little punk. My second home. 

The Manchester Project is glorious. It is a five star theatrical TripAdvisor for Manchester. Like the honey from a bee it is a sticky, messy, sweet and golden stream that glues us together as Mancunians. 

At HOME January 12th and 26th as part of PUSH2018.


Portrait Photographer – David Fawcett