1995 is arguably a year in the UK music scene that remains cemented in people’s minds. What started with the chart domination of boybands, East 17 and Boyzone, and the legendary divas, Mariah Carey and Céline Dion,  resulted in the summer being taken over by what the media turned into a battle of the classes, and accentuating a symbolic North vs South divide.  

Two British bands pioneering the Britpop movement: Oasis representing the  brash, working class of the North, and Blur, recognised as the middle-class, ‘art-school’ Southerners. Fast-forward 31 years, written by John Niven and directed by Matthew Dunster, The Battle hits Manchester and, based (mostly) on real events, attempts to document what happens when two of the country’s biggest bands release singles on the same day in the battle to reach the coveted number one spot. 

There is really no way to sugarcoat how much of a Britflop this production is-ultimately saved by a hard-working cast and (mostly) engaging video design from Tal Rosner. Niven’s book is crass, tacky and full of unnecessary filler. The source material has infinite potential, which is sporadically leaned into, even turning the final scene into a parody of Shakespeare; had this been the direction from the start, it could have worked as a piece of escapism. Instead, the naturalism prior has zero momentum, lagging repetition and verges on clunky with so many set transitions from one sitting area to another. The result is a considerable lack of pay off – even with the distraction of Rosner’s design.  

The aforementioned transitions attempt to draw the audience in with musical interludes comprising of some of 1995’s biggest hits – predominantly by other artists – giving the audience the nostalgia they came to see. However, the lack of immersive sound design falls flat and leaves a lot of dead air. This is also the case with the lighting design, which is very much all or nothing- a key example being the build-up to the Act 1 finale which leads to… well nothing, actually.  

As mentioned, the cast do all they can with their roles to keep the audience engaged. George Usher, in his professional debut as Liam Gallagher, soars and gives every nuance of Liam’s character, despite the repetition of the script. Even in times of unnecessary homophobic, misogynistic and ableist jokes, Usher remains flawless. Additionally, Paddy Stafford as Noel is a stark contrast but equally well-rounded with less of a caricature approach but a perfectly balanced chemistry with his on-stage brother. 

Upon leaving the theatre, I questioned whether devout fans of the bands would leave satisfied and unfortunately, I think this is a disservice to all involved. The sheer lack of musicality and drama leave this feeling less of a battle, and more of a playground spat.  

The Battle continues its short-lived tour at Manchester’s Opera House until Saturday 21st March. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Helen Murray.