‘Are we making the most of our time?’ is the question posed by Strange Town in their latest piece of new writing: Livin’ On a Prayer. The Edinburgh-based youth theatre company of 8-25 year-olds took on the writing and direction of James Beagon who has worked with Strange Town for almost a decade, currently working as the Youth Theatre Manager. Beagon’s Livin’ On a Prayer is set in a karaoke bar in which a selection of Greek Gods and Deities enjoy the sweet taste of ambrosia (the source of their immortality). But when Dionysus, God of madness, decides to hide their ambrosia, the Gods must work together to decipher the clues left for them by Dionysus. Initially led to believe that if they enter a singing competition, the winner will earn the remaining ambrosia, however the truth leads the Gods down a much darker path.
The performance began with a pre-show setup in which the Gods partied in the bar, singing classic ‘80s hits. This type of pre-show spectacle seems to be increasingly popular although I feel it works best when done subtly to set up tone and ambience – this felt a little too obtrusive for the beginning of the show and called for some more guidance for the actors who seemed a little unsure of themselves.
The lighting, designed by George Cort, ran smoothly, using a colourful palette to paint the ethereality of the world of the Gods. However, the sound design needed some polishing as certain sounds (such as the splashing of the river) were slightly jarring as they didn’t quite suit the action. Instead of using varied sound effects, the same sound bite was used repetitively which did become noticeable. The same too during the simultaneous three-scene sequence near the end – the excerpts sung from Livin’ on a Prayer seemed too short at points, although I can see why this was done: being an attempt to build a more rapid pace, heightening the drama, but instead played out a little messy.
Strange Town boasts a cast of talented young performers – each are commendable, bringing the Greek Gods to life with fun and passion – each having a strong stylisation and sense of character within their roles. Dionysus, played by Jason Sparrow, gave us eccentricity and flair with a strong sense of physicality – certainly perfect for the role of the mad villain. Alannah Skellett (Aphrodite) and Kathryn Scott (Melia) were a lovely duo, completely opposite in nature but working together very nicely. Scott gave us a very sweet portrayal of Melia while Skellet showed us some tough-love – most amusingly when she was forced to do karaoke – the deadpan expression was so comic. Ailsa Ogilvie completely won-over the hearts of the audience as Harmonia, and although perhaps one of the youngest in the cast, also one of the most authentic performers. The remaining cast members were too filled with talent and potential, their dedication and commitment to their craft is clear and enjoyable to watch.
This show is surprisingly anti-capitalist as Dionysus complains that we, the audience, are not living – instead stuck in dead-end jobs, wasting our time away. And what with their immortality taken away, the Gods realise that they too don’t want to, and don’t have to spend their remaining time working – they should spend their time doing what they want to – very poignant themes told in a very palatable story.
Livin’ on a Prayer is available to watch until the 21st of June at the Traverse, as well as Strange Town’s two other productions: In the Cult of Work, and The Stars and After.
Reviewer: Jessie Martin
Reviewed: 18th June 2025
North West End UK Rating: