Ho-ho-holy smokes! It’s that time of year again when Liverpool’s Royal Court takes a traditional Christmas tale, scousifies it, adds some musical bangers and gives their audience some festive escapism; and this year, it’s a cracker!
With new direction from Nicole Behan, straight from the theatrical perfection of Letters to Brezhnev, this year, writer and executive producer Kevin Fearon has gone back to basics and brought back his 2017 hit, The Scouse Nativity, aptly named ‘The Second Coming’. Some of Judea’s residents have also returned, but it’s familiar faces all around from the Court’s best-loved performers.
What stands out with The Scouse Nativity- other than being flocking ridiculous- is how well written each of the characters are and how they play to each of the cast members’ strengths that we know and love them for. From the glorrrrrrrrrrious vocals of Jess Smith and Adam McCoy (Mary and Joseph), the powerhouse comedic trio of Keddy Sutton, Lenny Wood and Helen Carter (shepherds, sheep, wise men et al), the love-to-hate cartoon villain, Herod (Paul Duckworth) to the angel on top of tree who finishes everything off perfectly- the force that is Lindzi Germain as Angela Gabriel. Props of course to the on stage swings, Lydia Morales-Scully and Tim Roberts, alongside the band who bring everything together and keep the pacing and energy spot on throughout.
Throughout the production, on top of the already myrrh-aculously ridiculous plot, we’re treated to pop culture references and impressions galore, from Love Actually to Mariah, Cliff Richard to house anthems (yes, really), and of course, would it be a Royal Court production without ‘r’ Cilla?
Creatively, Mark Walters returns to the Court with beautifully concertinaed, pop-up story book set piece (which is navigated hilariously by the cast) taking the audience to Joseph’s carpentry shop where he serves wood, the villain’s lair that is ‘Herods’ department store, and of course the stable for the birth of Jesus- with a plentiful of animal friends to add to the authenticity… Special shout out to Brian who is ass-tounding and brings mule vibes only. Zoë Murdoch’s costume designs are bold and full of secrets as Ian Scott’s lighting dazzles around the theatre, at its best when Kate Harvey’s sound is at full throttle, rattling the Court with infectious festive energy.
Musical direction from Ben Gladwin brings the big numbers to life while holding space for vocals to shine when required: from Smith’s stunning angelic tones during Robbie Williams’ Angels to the big finale from “that great prophet, Belinda Carlisle”.
It may be described as back-to-basics, but if it ain’t broke, don’t fix it. Leaning more into the panto vibe (for adults only), this year’s production truly sleighs and is right as rein(deer). Yule be sorry if you don’t grab a ticket before it inevitably sells out and it’ll be rude-olf you not to try to bag one before it’s too late. Seriously, get your ass out of the manger and buy one. To coin a well-known phrase, ‘You had your chance, don’t say we didn’t warn you…’
Sorry.
Playing at Liverpool’s Royal Court theatre until Saturday 16th January. Further information and booking details can be found here.
Tickets received in exchange for an honest review. #AD
Credit: AB Photography.
