The Lowry, Salford – until 16 November 2019
Reviewed by Angharad Crabtree
4****
A well-orchestrated spectrum of moods is portrayed throughout, transitioning between comedy, poetry, sing-a-longs and romance to heartbreak and hardship. This is enforced by the marvellous sensory experience, incorporating smells and tastes in addition to usual theatrics. In contrast, the set remained primarily unchanged, which was a good way to ensure there wasn’t confusion of the audience as a result of sensory overload. That being said, the clever movement of the furniture allowed recognition of different settings, the arrangement of which was incorporated into the play, allowing seamless transition between scenes.
These factors all paid tribute in fully immersing the audience into the childhood of Nigel Slater, who was accurately depicted by Giles Cooper (Nigel), even though the story began with his 9-year-old self and spanned through to his mid-teenage years. Due to the breadth of the story, many characters were featured, although all were represented by only 5 cast members. Here I would add a special mention to Stefan Edwards (Josh) who portrayed a diverse range of characters through a brilliantly animated performance. One of the most significant characters was Nigel Slater’s mum (played by Katy Federman), who brilliantly demonstrated a mother’s warmth and kindness, and the unbreakable bond they have with a child, also reinforced by the time spent together in the kitchen. Blair Plant (dad) excellently instilled dread into the audience through a slow build-up of unsolicited frustration towards his son. Added to this chaotic mix, was Joan (played by Samantha Hopkins) who convincingly adopted the ‘evil stepmother’ role as such, providing a source for the audience to channel their dislike, alongside the central protagonist.
Overall, a great sample of a new kind of theatre experience, combined with a brilliantly compassionate storyline, made all the more touching by its sincere reflection of Nigel Slater’s childhood.