Road – Royal Exchange

2026 marks the 50th anniversary of the founding of the Royal Exchange Theatre, an occasion celebrated with a season of productions entitled ‘A Homecoming’, welcoming artistic alumni back to direct and perform in the Levitt Bernstein-designed “spaceship” nestled within the Victorian splendour of the old Exchange building. New Artistic Director Selina Cartmell launches the programme in strong style with a revival of Jim Cartwright’s seminal ‘Road’, boasting a star-studded cast, astonishing design, and an unfortunate modern relevance forty years after its premiere.

When the Royal Court Theatre first staged Road in 1986, Margaret Thatcher was at the height of her power and British society was beginning to see the effects of her political credo. While some prospered in this new “Gordon Gekko” world of unfettered capitalism, the poorest in society were left firmly behind, as the sink estates of northern England bore witness to this social and economic revolution. Against this backdrop, Cartwright devised his play — a plaintive cry from the dispossessed and “never-hads” — which subverts the accepted (predominantly southern) narrative of the 1980s as a decade of ubiquitous wealth and yuppie excess, all set to a soundtrack of music by Duran Duran.

Director Cartmell should share full credit for this production with designer Leslie Travers; the audacity and scale of their ambition are enormous. The pair have spilled beyond the confines of the theatrical space, utilising every part of the Royal Exchange building to recreate the world of Road. This is promenade theatre on steroids and, from the moment you enter the building, you are surrounded by the experience. Travers juxtaposes the ornate splendour of the original architecture with the punk energy of his set design. The audience wanders between a dizzying array of tableaux that assault the senses: piles of junk lie abandoned everywhere; an abandoned van full of wiring blocks the foyer; a chip shop counter sits greasily beside the main bar. Populating this hellish world are brassily dressed girls catcalling from podiums; a dishevelled and confused old lady pushing a shopping trolley through the crowds; and a couple conducting a fully fledged domestic row on a platform suspended twenty feet in the air. All human life is here, red in tooth and claw. Audience members for this sold-out run are advised to arrive early to immerse themselves fully in this world; the production cannot be fully appreciated if one arrives five minutes before curtain, hoping for the usual swift G&T.

Once seated inside the theatre, the audience is taken on a journey down “the Road” by Scullery (Johnny Vegas), our chorus, narrator, and guide, who knows everyone and sees everything as we peep behind the filthy net curtains of the inhabitants. Cartwright’s style is both episodic and arbitrary: we remain with some characters far longer than others, catching fleeting glimpses of the daily struggles of the residents. We meet Molly (Lesley Joseph), suffering from dementia and making tea on her single gas ring, before quickly shifting to an on-screen Jerry (Tom Courtenay), heartbreakingly repeating, “I can’t get over the past,” as he mourns his lost youth.

The first half of the production is predominantly dark and is brought to a stark conclusion with “Joey’s Story”: Joey (Jake Dunn) and Claire (Lucie Shorthouse), marooned centre stage on an enormous bed, slowly give in to their workless, hopeless circumstances, dying in a drug-induced miasma with Scullery as their dirty Angel Gabriel.

The casting of Vegas alongside Lucy Beaumont — both seasoned stand-up comedians — hinted at a desire by Cartmell to access the humour present in Cartwright’s work. Unfortunately, stand-up comedy and theatrical comedy require differing skill sets. Stand-up relies on improvisation and a natural rapport with the audience, which cannot flourish in such a tightly scripted, character-based environment. It was left to the experienced hands of Shobna Gulati to mine the scripted humour to full effect. Her twin portrayals of Helen and Marion were excruciatingly accurate and brought the audience to tearful laughter.

The supporting cast is hugely impressive. Alongside Dunn and Shorthouse, both Kyle Rowe and Laura Elsworthy find humour and pathos in the characters of Skin Lad and Dor respectively, the latter repeatedly screaming “Somehow Might Escape,” bringing this darkly funny play to its conclusion.

Road is a fully immersive and absorbing evening, showcasing a creative team working at the height of their powers. Unfortunately, it retains an uncomfortable relevance in modern Britain forty years after it was written. The issues it raises feel more prevalent than ever, as our political leaders struggle to find answers to problems that seem increasingly intractable. The entire run is sold out, but if you can secure one of the day seats on offer, I urge you to witness this stylish and vital production.

Reviewer: Paul Wilcox

Reviewed: 19th February 2026

North West End UK Rating: