Following a successful scratch night performance, Ladderman Collective literally take their work in progress to its next developmental level as part of the Up Next Festival at Unity Theatre.
Coming in at about an hour, director Mason Guthrie navigates us through five acts that follow the trials and tribulations of problematic MP Phillip Braxton (Aidan Rivers) and his personal assistant, Alison (Natasha Jobst) as he looks to resurrect his political career following an earlier embarrassing altercation on a television programme.
There were consequences too for the television host, Robert Jones (Tom Browning), who can now only work on a regional radio programme. With an impending general election, the opportunity to get his revenge on his political nemesis looms large and he begins plotting with comic sidekick, Olly (Olly Williams) and sound engineer, Joseph (James Elliston). What could possibly go wrong?
With the simplest of staging, everything was set for some spirited high jinks, and we were not let down, with the company taking full advantage of recent political developments to influence the script and demonstrating a flexibility of approach that can ensure the piece remains fresh and avoids becoming dated.
There was an inspired selection of backing tracks that sat well with the storyline although a little more work is required to get the sound level balanced although not an unusual consequence of a one-off performance of this kind.
There was good movement around the stage, and I particularly enjoyed the back of house walk through at the radio station which could be embellished further for greater comic effect alongside the disjointed communication with the sound engineer which were subtly delivered and the funnier for it.
Rivers was impressive as the disgruntled MP – the legacy of The Thick Of It presents quite the challenge for anyone performing comic political drama, so it was good to see him grow into the role and very much make it his own as the play developed.
Prior to tonight’s performance, we were informed that due to illness, Jobst was a late stand-in, but you wouldn’t have known from her consummate performance which was skilled and hinted at the intrigue and agenda of her own character in proceedings.
Browning excelled as the television/radio host displaying the necessary effortless air of being all things to all people whilst he plots his revenge with Williams a very believable funny man interjecting at all the right moments and they served up some strong interplay, notably when off-scene without being a distraction.
Elliston had the difficult task of delivering the less than communicative sound engineer which he did with some aplomb, and I enjoyed his skit with Jobst as the radio interview was on air.
- Some further observations to inform development feedback:
- The closing speech lost its way at the end and was a little too verbose; perhaps focus on the harsher soundbites and the already established danger they imply.
- I’d like to see more compare and contrast of Braxton and Jones: there are two stories playing out here that are not that dissimilar even if the two characters think they are.
- Alison’s motives offer a third, again not dissimilar, strand that could be explored with more time as well as a chance to consider gender dynamics.
- Consider centralising the radio station from the start and allow the other scenes to be sited left and right of it on stage: it informs the major act and would negate the need for scene adjustments throughout.
It’s always difficult evaluating developmental work but as this bright young cast and director pull out all the stops here with original material and a fresh and lively approach, I’m happy to say that, without hesitation and with all due respect, they’ve earnt it…
Reviewer: Mark Davoren
Reviewed: 8th March 2025
North West End UK Rating:
Rating: 4 out of 5.
