Due to numerous tech issues during the press performance, this will be an unrated review out of fairness for the cast and creatives, omitting any reference to sound and lighting and concentrating solely on book, cast and set design.

To those outside the North-West, the notion of an outdoor ski slope being erected next to a motorway, constructed in some part by children, and built over a pile of rubbish would be thought of as a piste-take, and those in the area would quite rightly state that “Kirkby needs a ski slope like I need a third tit”. But, in the 1970s, in order to spend any leftover council funds prior to a new administration, that’s exactly what Kirkby Urban District Council, under council leader Dave Tempest, did.

Taking the Piste, penned by Kieran Lynn, in his Royal Court debut and under the direction of John Young, takes inspiration from this farcical true story and quite rightly states that “the most unbelievable bits are probably true”. This is a new play highlighting how much we can really trust politicians and the media, despite there being people with a sense of morality in their inner circles.

With Jasmine Swan’s heavily detailed set design, making full use of the Court’s revolve, the audience is transported between local haunts, the newspaper office and the changing landscape of the ski slope itself. Attention to detail brings comedy in itself and, under Young’s direction, scene transitions keep the momentum going with fluidity.

Lynn’s book brings two story arcs together, stitched with pantoesque performances and lots of expletive humour, particularly from Liverpool Echo lead editor, Patricia Grimes (played with gusto by Vicky Binns). Binns would give modern HR departments more than a headache, but her mouthy outbursts bring the most comic relief in the unfolding scandals. The wider cast give superb performances in their respective roles, showing impressive definition in their multi-rolling- particularly Michael Starke’s contrast between sidekick Geoff and the flamboyant Nigel. Hayley Sheen and Holly Mimi Bernice bring the most naturalism to the piece, grounding the production while still maintaining their own, while Ellliot Kingsley shines as the besotted Derek. Paul Duckworth, as usual, brings the comedy, occasionally breaking the fourth wall and giving the audience a knowing look, much to the amusement of patrons. His slapstick, satirical role of Donald Storm is the perfect panto villain character, which would have audiences booing and hissing in another setting.

And this is where the book occasionally feels confused. As an audience, watching corruption of a local council and the most prominent media outlet in your city (at the time), feels less than funny. While the gags come quick and fast, they at times feel less curated and more forced to detract from the severity of the issues. The story itself is already unbelievable, so could this production have taken that further to make it even more absurd? Much like last year’s summer outing of The Legend of Rooney’s Ring, so nonsensical that you’re constantly laughing at the lunacy- you can’t help but feel it might have added additional layers to the piece.

That being said, on the hottest night of the year, there are laughs throughout and the first thing I did when leaving was look to find out more about the aftermath of the insane incident; educating myself further on the real people who inspired those portrayed on stage. A harmlessly fun production which highlights that money has, and probably always will, take precedent over morals, but that there will always be those calling out for justice, and sometimes, it will prevail.

Taking the Piste plays at Liverpool’s Royal Court until Saturday 18th July. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD