Letter to Brezhnev – Liverpool’s Royal Court

We begin with quite a dilemma because the curtain rises on one of the most intriguing, complex sets I’ve ever seen – but no wish to spoil the impact, so let’s call it multi-level, multi-layered and multi-purpose, covering a lot of ground, from Russia to the UK: ship and Kremlin to a council house, pubs and the Kirkby Chicken Factory. The set ingeniously changes the scene with fittings sliding in and out, back and forth, or even turned around, while manhandling the props is skilfully done. However, considering so much care has been taken, the devil is in a couple of details: Elaine threatening somebody with using her stilettoes as a weapon when she is wearing flats, and Nan’s 80th birthday party – with no sign of Nan.

On the bright side, set in 1985, when two Liverpool lasses meet up with a couple of Russian sailors, the music is excellent even if largely snatches of the hits of the time. And it was quite remarkable the way about half a dozen people tightly packed evoked a crowded dance floor. Likewise, Teresa’s response of incredulous disdain, when she asks how Elaine spent the night: ‘Talking!?’ suggests her next role should surely be Lady Bracknell.

‘Escape From Kirkby’ doesn’t have the same ring to it, but the irony is the similarities between Russia and the UK: food shortages, lack of jobs, poverty etc. Depressingly, not much better nowadays, and much worse in many ways. Despite such bleak material however, the play is extremely funny, portraying lives of raucous desperation, its unerring dialogue sharp as a knife. It is all spot on, and scenes are greeted with applause as well as laughter. That said, some of it is so near the knuckle, we’re talking about an entirely different part of the anatomy… And the Ladies’ scenes are anything but, except where Teresa is concerned, although true to life.

Characters certainly does describe the colourful cast, and not just when they’re all dressed up. Best friends, Elaine and Teresa are a splendid twosome, each in their own special way. Ellie Clayton is delightful, although incredibly stubborn, sparkling as the former while Angela Simms is equally good whether brash or vulnerable. Their counterparts are the romantic, apparently sincere Peter (Thomas Cotran; nicely done) and Liam Powell-Berry, who puts in a good job, mostly mime, as non-English speaking Sergei.

They are ably supported by the rest of the cast, and it’s a shame not enough space to include every one of them, fluidly and fluently swapping roles. Leona Sinama-Pongolle is Tracy, so vitriolically bitchy, you hold your breath whenever she’s about to speak, and Elaine’s full-of-herself younger sister, Josie (Maya Rugen) whose dance practice is hilarious: not break, ballet or cheerleading but Morris… Michelle Butterly is hard-working, sensible Mum, and outstanding in her other role as Betty, the complete opposite; roars of laughter greet nearly all her comments, grimaces and gestures. And gentlemen: Reginald Edwards, from silly to sinister when he puts in a brief chilling appearance as Brehznev, while Zeke Levene is simply infuriating, as good as shiftless Mick as the supercilious reporter.

Again, no spoiler with the ending, but the audience’s feelings will mirror Elaine’s; your heart goes out to her. And the icing on the cake – as ever, the impressive food and service. Fair play, Royal Court: a first-class night out.

Reviewer: Carole Baldock

Reviewed: 17th September 2026

North West End UK Rating: