THE ELECTRIC HILLS. To 31 March.

Liverpool

THE ELECTRIC HILLS
by Michael McLean

Everyman Theatre To 31 March 2007
Mon-Sat 7.45pm Mat 21 March 1.30pm 31 March 2pm
Audio-described 29 March
BSL Signed 23 March
Post-show discussion 20 March

TICKETS: 0151 709 4776
www.everymanplayhouse.com
Review: Timothy Ramsden 17 March

The Hills are alive, with the sound of music.
I’m still waiting for the great Merseyside play as City of Culture glory approaches. Main contenders to date are a multi-authored transcript about sex and drugs in the city and an adapted TV play, at the Playhouse rather than the new-writing Everyman.

Michael McLean’s some way from pulling-off the trick here, but he’s written a welcome piece, combining comedy with a strong sense of human relationships in quirkily individual circumstances. From the punning title to an ethnic intermix that’s stated rather than argued, this play is sure of its ground.

McLean gradually fills-in the backstory. As relationships unfold, they’re offset by a surprise for the characters. Plenty of sadness leaks out alongside the youthful hopes of 17-year old Kelisha, trying to make her way into higher education.

Joanne’s not-so-youthful ambitions run alongside her affection for Ricky Hill, one-hit wonder of the ‘80s now reduced to a bad back, compering karaoke, and bringing up Kelisha. The teenager’s café job brings her into contact with Ricky, with his own troubles and link with her family.

His shock news filters in almost casually as the other trio’s home life comes into focus. Only Kelisha’s fondness for repeatedly, and enthusiastically, happening on the one-track claim to fame is overused.

The key scene takes place during a party. It’s no coincidence this scene’s set-up during the interval, placing an important emotional development close to the audience. Elsewhere Nick Bagnall’s production allows designer Becs Andrews to set too much at the back, leaving a large foreground as a café, used in only one scene.

Maybe it’s my ears unattuned to the Mersey sound, but Claire Keelan’s quick-speaking Joanne’s words were sometimes lost to me. Otherwise, Keelan has a good sense of someone with divided loyalties facing decision-time at 30, while Louis Emerick catches Ricky’s stagnant existence and Dave Fishley young Richard’s attempts to slot himself in despite previous mental problems.

Best of all is Azuka Oforka, serious and joyfully energetic by turns. The writer doesn’t quite bring off her final turn from shadow to smiles, but Oforka is always a Kelisha beacon lighting up the stage.

Ricky: Louis Emerick
Richard: Dave Fishley
Joanne: Claire Keelan
Kelisha: Azuka Oforka

Director: Nick Bagnall
Designer: Becs Andrews
Lighting: Prema Mehta
Sound: Fergus O’Hare
Music: Marc McLean
Dialect coach: Samantha Mesagno
Fight director: Kate Waters
Dramaturg: Suzanne Bell

2007-03-19 09:32:56