______
20 August 2026
______
4 1/2 ****
______
Four women, bored of their dull lives working in a fish packing factory in Hull, decide to have an adventure by attending Ladies’ Day at Royal Ascot in order to mark the departure of Pearl, the senior member of the quartet. Their back stories are filled in, full of ups and downs, but humour is never far from the surface and the end leaves a warm glow. There is a writing formula here, the most famous example of which is ‘The Full Monty’ – this isn’t a criticism of Amanda Whittington’s play, but an observation of the reworking of something which really succeeds.
The production is played in the round at the Marine Theatre and it works a treat; as the audience enter, the factory is laid out in front of them, where polystyrene packing cases abound. Immediately you are in the action. The transition from factory to Royal Ascot, complete with changes in costume on stage is brilliantly choreographed and incredibly effective. As the foursome carry out their work, you believe they know exactly what they are doing – there is no faffing about – there is method and reason in their actions.
This is a very strongly cast production. Debbie Christie, as Pearl, is tremendous; world weary, but looking to new adventures; hers is the most complete story and carries a deep emotional punch along with it. Monika Brodowska is, likewise, fantastic, as the sassy, gobby, Shelley, who disguises her dull life with sharp-tongued responses and observations. There is sadness too in Jan’s life, which results in her over-indulgence at the races and allows Victoria Porter (in her fifth play in five weeks) to give an extremely good ‘drunk’. Jodie Glover is wonderfully sensitive and vulnerable as Linda – a really lovely performance which endears the character to the audience. James Taylor-Thomas has the fun task of portraying six characters, which he does with great skill and glee – he is especially effective as the TV racing pundit, Jim – a creepy and sleazy incarnation which will be sure to make you cringe.
Making a production work well when staging it in this format takes considerable planning by the director and here Janette Froud has put in the hours – the direction is meticulous and the staging is fully valid. The packing boxes are mentioned earlier, and they are used throughout to form parts of the set and as homes for costumes. None of the scene changes are laboured with the two young stage hands – suitably attired – re-setting the stage with efficiency and care.
There are multiple contemporary cultural references throughout – the play is set in 2005 – which, slightly date the piece, but the Tony Christie soundtrack is a joy and keeps the audience fully engaged.
This is a really entertaining and enjoyable production, directed with great care and performed with joy. It brings to a close an excellent summer season from Gilroy Theatre at the Marine Theatre. Weekly repertory theatre is one of the toughest forms of the art with just five days to rehearse and mount a production and I take my hat off to Su Gilroy, the mastermind behind the company. It is either brave or foolhardy to set up a rep company these days, but when audiences flock to see the productions, you must be doing something right. Let’s hope Gilroy Theatre will be back in 2027.
Cast
Pearl – Debbie Christie
Jan – Victoria Porter
Shelley – Monika Brodowska
Linda – Jodie Glover
Joe/Fred/Jim/Patrick/Kevin/Barry – James Taylor-Thomas
Creatives
Writer – Amanda Whittington
Director – Janette Froud
Lighting and Sound Design – Steve Miller
Set Design – Robert Sherwood
Stage Management – Tom Neill & Eddie Comerford
Production Assistant – Gary Fish
Costume Assistant – Grace Dudzicki
