Britannia Waves The Rules – Hope Street Theatre

Gareth Farr’s 2011 Bruntwood Prize winning play is a brutal and gritty account of a young man’s journey from the cold, wet beaches of Blackpool to the dry, burning deserts of Afghanistan and it takes no prisoners along the way. It’s a tough but important story to listen to and a sad reflection on society that its message still resonates so strongly some fifteen years on.

It’s grim up north and nowhere more so than Blackpool which only has rose-tinted memories of bygone days to fall back on for its older residents, whereas for young Carl Jackson (Jim Kelly) it is a place to run away from, whether that be from family members or mock-Mancs. It really has nothing to offer – even the girl next door doesn’t want to know.

Only the army offers a way out and a trip around the world after training at Carrick but the delights and intrigue of Germany, Cyprus, and Nairobi soon give way to the perils of Afghanistan, and for Carl whose life is a turbulent vortex, well he either runs out of steam or something else takes him out of life completely: so, what’s it to be?

Directors Dan Meigh and Charlie Prothero are to be commended for showcasing theatre at its best with this powerful and thought-provoking production – it’s what theatre in Liverpool used to be about and thankfully independent companies like Off The Ground Theatre continue to carry that baton.

Finn Davis’s sound and lighting design orchestrates and echoes Jackson’s life at every turn as it transports us from crashing waves on the shore to the pounding music of a club, from the screaming explosions of combat to the dull thud banging in Jackson’s head. Combined with the black box approach and some clever choreography, our imaginations are allowed to run wild.

It’s always a joy to watch actors who can act, and a talented ensemble of Harry Clark, Connor Wray, Amy Hope Thompson, Robert Kavanagh, and Charlotte Cumming certainly delight as they provide the necessary interludes for what is effectively a ninety-minute poetic – more or less – monologue. Their nimble portrayals of supporting cast highlight what Jackson is running from although there is a certain inevitably that his journey will become circuitous and he will arrive back at his beginning. They also provide lighter moments touched with everyday humour that provides some relief from the timebomb that Jackson is becoming.

Kelly as Jackson is the glue to the whole piece and I’m not sure I can think of too many actors who could stay front and centre and hold our attention throughout with a charismatic, emotive, heartfelt, and complete performance. There really are not enough superlatives to do his performance justice but one that does stand out is presence: he has our attention from the very beginning and squeezes every emotion, whether that be elation or despair, from us as we hope that he will cross the finishing line and in doing so find his true self.

Life isn’t always like that, but this important play goes a long way to explaining some of the odd occurrences that plague our everyday life and maybe helps us make sense of what is likely going on underneath: be kind to others, you don’t know what they’re going through.

Off The Ground Theatre have spent over thirty years creating bold, imaginative theatre across the UK and Europe – long may it continue. For further information https://www.offtheground.co.uk/

Reviewer: Mark Davoren

Reviewed: 3^rd October 2025

North West End UK Rating: