There aren’t many shows that come with a caveat before the curtain rises, that it will be presented as it was written, word for word, and that the audience should take it in context for its time. As someone who found great joy in The Book of Mormon and Avenue Q, I expected the themes and humour of Rita, Sue & Bob Too! to be polarising, but it ultimately lacks the intelligence to be anything more than something best left in the past.

For those lucky enough to have bypassed the play and/or the 1987 film adaptation, Rita and Sue are 15-year-old schoolgirls who wind up in an affair with 27-year-old, Bob. The tagline for the film is ‘Thatcher’s Britain with Her Knickers Down’. Irrespective of whether this is a semi-autographical piece from Andrea Dunbar, her depiction of working class is everything that is wrong with stereotypes. This is before commenting on the out of balance power dynamics in the relationship between predator, Bob, and two children.

The opening scene sees Rita and Sue in their school uniforms running up to Bob who is bent over his car. The girls are then offered to go for a drive, ending up on the Yorkshire Moors, where they take it in turns having sex with Bob- whilst the other watches on. It has to be said, the audience were loving it: clearly, seeing Jake Quickenden’s bare arse bobbing up and down was a real treat as wolf-whistling, hysterical laughter and encouragements such as, “Jake, go harder!” were aplenty. Maybe I’ve been invested in true crime for too long, but all I saw was a trusted male figure taking advantage of two schoolgirls.

To be devil’s advocate, let’s pretend the girls are of age, how is the play?

The acting is extremely hammy from some, and naturalistic from others, creating an odd blend of panto and reality. Occasionally, it breaks the fourth wall to rile up the audience, allowing them to respond accordingly. Kay Nicholson (Rita) and Jenna Sian O’Hara (Sue), have an undeniable bond onstage and, in a better written piece, would have no trouble in selling these characters. Nicholson in particular knows exactly where she thrives comedically and I look forward to seeing her again onstage.

Scene transitions are slow and clunky- one scene has the backdrop curtain blocking half of the car on stage right where, in the scene prior, the curtain is left ajar showing said vehicle before the next scene.

The sound levels are fine for the packed stalls; however, the static isn’t great from the headset mics during the more ‘physical’ scenes and sound design is non-existent.

Back to the book- it’s just not funny- and, if it is, perhaps I expect humour that goes further than multiple expletives in every sentence and a thrusting backside. The plot, as aforementioned, could have potential. However, in 2025, I find myself zoning out of the laughter erupting around the theatre and really listening to the dialogue; it could actually work well if adapted to suit the sinister story disguised as a comedy. Ultimately though, that direction is not what the audience wanted. They got what they came for- a nostalgic throwaway night at the theatre with sex, swearing and Jake Quickenden. Personally, I’d rather spend the £27 ticket price on a takeaway, but if it’s shows like this that get bums on seats for regional theatres, then who am I to judge?

Before continuing on a mini tour, this production plays at the Theatre Royal until Sunday 9th February. Further info and booking available here.

Tickets gifted in exchange for an honest review.

Photography by David Munn Photography.