Shelagh Delaney’s debut play (written when she was just 19), A Taste of Honey, is back at The Royal Exchange theatre in Manchester, 66 years after its premiere. Originally intended as a novel, Delaney aimed to address social issues and themes not being represented at the time: notably class, consent, and race amongst others. The now classic “kitchen sink” play has had runs in the West End and Broadway as well as being adapted into the 1961 BAFTA winning film of the same, ranking in the British Film Institute’s list of top 100 films of the century at a respectful 56. But has the play remained sweet over time or are their signs of fermentation? (You know by now; I love a pun.)

A Taste of Honey tells of the complex bond between a mother, Helen (Jill Halfpenny) and daughter, Jo (Rowan Robinson), during their working-class lives in Salford in the late 1950s. Although constantly arguing, they might be more similar than they realise. Rigid in its time-period, the story is often as awkward as the relationships portrayed on stage. Sensitive subjects are handled indelicately, and, for the modern audience, it is wince-evoking at times. Uncomfortable laughter rolls coyly about the theatre as the script echoes a bygone era whose themes, sadly, are still all too prevalent today.  

In her professional debut, Salford native Robinson soars as Jo. Her portrayal is confident and compelling and exudes a power usually seen in a seasoned performer. She has a magic in her eyes that draw the audience into Jo’s inner turmoil. At the outset, Robinson’s relationship with Halfpenny is hilarious, though hilarity melts away into heartbreak at a single glance.

Halfpenny commands the stage as the troubled Helen. Helen, at first, is a brash and formidable but, as the play progresses, so does our insight into her intrinsically narcissistic tendencies which Halfpenny conveys brilliantly with perfect comic-timing and unwavering stage-presence.

David Moorst also offers a standout performance as Jo’s homosexual friend, Geoffrey. Although only present in Act 2, Moorst is a joy to watch and takes the audience on a rollercoaster ride of the emotions he is so evidently living with as a gay man in the 1950s.

Arranger and orchestrator Alexandra Faye Braithwaite treats the audience to an added musical dimension, connecting us canorously with the characters’ woes through a haunting rendition of Ewan MacColl’s ‘Dirty Old Town’, delivered by the aptly named ‘Jazz Singer’- a new addition to the play. Portrayed by Nishla Smith, her exquisite voice serves as a grounding motif for the piece; omnipresent throughout the performance, she is illuminated during scene transitions and brings the show to a gripping crescendo with the ever-talented Robinson.

As seems to be customary for a production at The Royal Exchange, set design (Peter Butler) at first glance looks simple, but every aspect is clearly processed and purposeful. From the weathered carousel/gasworks hybrid hanging over the space which appears to have its own energy (particularly as it closes downward toward the characters in the more tense aspects of the show), to the period pieces of furniture which transport us back to working-class Salford, the attention to detail is undeniable. This is well complimented by Simisola Majekodunmi’s lighting design which brings the fairground to life during Act 2, a richly stark contrast to the cold blue lighting of earlier scenes.

With a run-time of almost 3 hours (including an interval), the material must work hard to keep its audience captivated and does, at times, lose pace. Just the odd trim here and there could do well to rectify this and keep the cogs whirring sweetly.

This is once again another triumphant classic from Royal Exchange and director Emma Baggott crafts for the audience a piece of theatre which, sadly, retains its relevance in its uncomfortable themes, almost seven decades on.

A Taste of Honey runs until 13th April, further information and booking can be found here.

Photography by Johan Persson.

Gifted in exchange for an honest review.