Producing a Pulitzer-Prize winning play written by Lynn Nottage, the only woman to have won the prize for Drama twice seems like a recipe for success for the innovative Royal Exchange theatre to continue their 2024 season. But does a play set in Reading, Pennsylvania- deemed one of the poorest cities in the United States- during President Bush’s tenure from 2000-2008 remain relevant in 2024?

Sweat (directed by Jade Lewis) was conceived in 2011, by Nottage, after being inspired by stories of economic hardship and job losses through the changing times of industrial cities, whilst gaining insights from conducted interviews from residents of Reading itself.

The lengthy piece tells of three women worker bees, and how the dynamics of their relationship can change overnight- influenced by both the politics of their country and internal politics of their jobs.

The ensemble cast are a standout in this production and work hard to keep the pace rolling in a complex script. Written with depth, the characters are relatable to a working-class audience, especially those around in the Thatcher era.

Pooky Quesnel excels in the role of Tracey, serving strong-willed attitude whilst allowing the audience to see deeper within the complexities of a woman holding it all together. Likewise, Carla Henry portrays Cynthia with strength and a subtle vulnerability as her inner turmoil persists when striving for a better life for her family whilst remaining loyal to her friends.

In his professional stage debut, Abdul Sessay undertakes the role of Chris, Cynthia’s son. Delivered sensitively and with confidence, his character weaves his way through a life that is expected of him, at the mercy of the community within which he stands.

Lewis Gribben plays Jason, Chris’s friend, and Tracey’s son. On the surface, Jason is a character it is near impossible to warm to, however as the play progresses, the vulnerability starts to surface and Gribben shows distinct characterisation choices between past and present Jason- culminating in an emotional finale.

Bringing much needed lighter moments to the play, Kate Kennedy brings life to Jessie with scene-stealing ease- even when she is merely slumped over the bar. Her physicality in this role is second to none, crafted to perfection without ever stepping into excess. This aside, Kennedy’s portrayal is multi-layered, with a faint glow of sadness which underpins even her most comedic moments. You’re left wondering what ever did happen to the woman whom the world left behind?

This production is unfortunately not without its faults. Due to the mass amount of dialogue, pacing becomes slow and monotonous in parts. Although this is also indicative of the everyday mundane life of the characters, and artistically made sense for the piece, it doesn’t make for the most entertaining or enthralling piece of theatre. This could also be due to the two and a half hour run time which could easily be trimmed to allow a punchier and more impactful production. At certain points, there is dead air and repetition in the dialogue, particularly apparent in Act One which feels very one note.

The creative team- as always at Royal Exchange- immerse us into the era of the play as soon as we enter the theatre. With music (sound design by Elena Peña) of the time echoing around the venue and a welcoming tannoy announcement prior to the start of the show, we are immediately embedded within the industrial setting. This continues throughout with SFX audibly illustrating the piece and combined with Elliot Griggs’ lighting design, highlights the media driven narrative of the text. Good Teeth’s fixed yet revolving set is easily transformed into the various locations; embellished with period props. It may appear to be a simple metal frame but is reminiscent of a boxing ring- a foreboding nod to what is to come.

Sweat has relatable themes that are relevant both before and after its fruition, however, it is the stellar cast that brings this piece to life.

Running until 25th May, further information and booking can be found here.

Photography by Helen Murray.

Gifted in exchange for an honest review.