When the email allocating this review landed in my inbox, I could be forgiven for thinking that my Liverpool supporting editor was playing an April Fool’s prank. The choice to send a Salfordian and Manchester United fan to review a play about the inexorable rise of Liverpool FC – staged in the heart of that city – could be seen as cruel and unusual punishment. I would object, if it were not for the fact that his decision meant I was fortunate enough to attend one of my highlights of the theatrical year, with a stunning central performance and enough heart to fill Old Trafford, let alone Anfield.
‘Red Or Dead’ Is a stage adaptation of the 2013 novel by David Peace telling the story of the reign of Liverpool’s legendary manager Bill Shankly, from his appointment in 1959 through to his unexpected resignation in 1974. Full disclosure: Peace is my favourite living novelist, his earlier work ‘The Damned United’ and his latest ‘Munichs’ both also deal with football stories and whilst engrossing, his style is uniquely challenging. The use of staccato sentences and constant repetition of phrases brings the characters of Brian Clough and Jimmy Murphy to vivid life from the page and he employs the same tropes with ‘Red Or Dead’, the novel sprawls over 700 page and the sheer amount of detail makes this a difficult proposition to adapt into a staged production.
However, in this adaptation Director Phillip Breen brings all the detail and passion of the original novel to bear and combines it with an emotional weight that left the partisan, press night audience cheering like Ian St John had scored a last minute winner. Taking his inspiration from Robert Burns, Breen demonstrates that Shankly’s unique affinity with the people of Liverpool sprang from his deeply held socialist principles and love of community, elements that he saw in the writing of Burns. Ness (Alison McKenzie), onstage throughout, recites and sings, acting as a Chorus to the unfolding action onstage. The language of the novel is replicated and the constant repetition of phrases, results and activity creates a rhythm to the production that echoes the training regimes that Shankly instilled into his players. The combination of poetry and prose is beguiling and draws the audience into the mind of Shankly in a way a that a conventional narrative would fail to do.
In enticing Peter Mullan back onto the stage for the first time in over 30 years, the Royal Court has delivered a real coup de grace. Mullan inhabits the character of Shankly in a way that is rarely seen when actors are asked to portray historical characters. This goes beyond merely a great impersonation of Shankly – although the mannerisms and accent are uncannily accurate – Mullan has demonstrated he shares the principles espoused by Shankly throughout his distinguished career on stage and screen and that sincerity shines through in his astonishing performance. He is well supported by the remaining cast of 11, portraying a multitude of characters parading through the life of the iconic man. All are excellent; Les Dennis continuing his late-career renaissance on the stage in the twin roles of Liverpool’s Chairmen; Gordon Kennedy shines quietly as the patriarchal Matt Busby whom Shankly seeks to emulate and Dickon Tyrell brings patient dignity to the role of Bob Paisley, the man who would take Shankly’s team onto even greater glory.
The professional cast is joined by 40 members of the Community Choir that swell the ranks onstage to create ‘The Kop’, bringing volume and scale to the production. Choreographed perfectly by Breen, the ensemble brings the swaying, singing mass to life, Shankly is constantly surrounded by them, a physical embodiment of the Scouse anthem ‘You’ll Never Walk Alone’, simultaneously joyous and oppressive in their desire to support him. This messianic fervour creates a wonderful claustrophobia in the production which is emblematic of what Shankly engendered in Liverpool as well as presaging the secular religion that football has become in the modern era.
Despite my lifetime of agnosticism towards all things Liverpool FC, I have always respected and admired Shankly as a man and acknowledged that more things bind the cities of Manchester and Liverpool than divide us. The sight of the ‘great and good’ of Liverpudlian society at the glittering press night did nothing to make me feel any more at home as I wolfed down a (delicious) bowl of Scouse before the show. However, by the conclusion all this had dissipated as I was swept away on a tidal wave of love and nostalgia and even though I stopped short of joining in with the rendition of ‘You’ll Never Walk Alone’ at the curtain call, it was undoubtedly an emotional and memorable evening at the theatre for both myself and the packed audience.
Verdict:
A superb adaptation of a wonderful novel featuring a stunning central performance from Peter Mullan as Shankly. So good that even audiences in Manchester may love it!
Reviewer: Paul Wilcox
Reviewed: 1st April 2025
North West End UK Rating:
Rating: 5 out of 5.
