ROAD | Royal Exchange Manchester

As part of the Manchester Royal Exchange Theatre’s 50th anniversary season, a celebration that welcomes artists back to their creative home, ROAD takes centre stage as the opening production. The play also marks the directorial debut of Selina Cartmell, making the occasion all the more special. Fittingly, Jim Cartwright’s iconic work is itself celebrating a milestone, as ROAD turns 40 this year, a powerful meeting of anniversaries that honours both the theatre’s legacy and the play’s lasting impact.

Set in 1986 in a Lancashire town at the height of Thatcher’s Britain, ROAD plunges us into a community grappling with hardship and fading hope. Told through a series of vivid prose-poetry vignettes, the play captures the frustration and desperation felt by many in the North during that turbulent time. Often darkly funny, and deeply human, giving voice to people who felt overlooked and left behind.

For this production, Cartmell fully embraces promenade theatre, making the road something you don’t just watch, you step inside and live. From the moment you step into the hall, the design does an excellent job of evoking 1986, though a few areas feel a little cluttered. The Great Hall as you might know it has completely disappeared, transformed into a maze of lived-in installations belonging to the residents of the Road. You’re encouraged to arrive early, and you should, because the first part of the experience is self-guided. It feels less like waiting for a show to start and more like wandering through someone else’s memories.

You can step into Eddie’s dad’s room tucked away in the studio space, peer inside the garages, and even take a look at the Bisto van. Every corner holds detail and texture, quietly building the world before a single formal scene begins. Then, almost imperceptibly, the characters emerge and the road comes alive around you, blurring the line between actor and audience.

One of the real strengths of the Royal Exchange is its vastness. Even at a sold-out performance, there’s room to move, to linger, to explore without feeling crowded or like you’ve missed something important. You’re handed a roadmap on arrival, gently steered by road workers through the space. And then, to the sound of “Somewhere Over the Rainbow,” you’re called to take your seat in the module, the signal that the structured performance is about to begin.

The industrial chaos of the road spills into the central space: electrical cables snake down from the rafters, hanging low over the audience, making it feel as though the mechanics of the world are exposed. It’s immersive, whilst slightly unruly, theatre that surrounds you rather than sitting politely at arm’s length, much like the inhabitants of the Road themselves

The ensemble cast paints a vivid, unfiltered portrait of northern life in the 1980s, gritty and funny in equal measure. At the centre of it all is Jonny Vegas as Scullery, who becomes our guide along the Road. Part storyteller, part ringmaster, he leads us from doorstep to doorstep, introducing each resident with biting humour edged by something more fragile underneath. Vegas inhabits Scullery well, though the role sometimes feels close to his familiar comedic style. Still, he brings enough charm and nuance to make it an enjoyable performance.

Shobna Gulati steals just about every scene they step into, delivering that unmistakable northern powerhouse comedy with razor-sharp timing and bags of charisma. Taking on Brenda, Helen and Marion, three women who couldn’t be more different, Gulati shifts between them with astonishing ease. Each character feels vividly distinct and seriously impressive to watch.

Lesley Joseph is just as captivating, moving effortlessly between roles that are each crafted with care and individuality. From Molly, an elderly woman living with dementia, to the brash Mrs Bald, and the delightfully familiar Chip Lady, she brings each character vividly to life.

At the heart of all communities are the local chip shops and Nelly’s chip shop has been lovingly recreated within the Royal Exchange. Opposite it, The Millstone Pub, the theatre’s usual bar area is unrecognisable and has been completely transformed into a working-men’s club, complete with its own playful variety show during the interval. It’s a charming touch and absolutely worth sticking around to experience.

Perhaps the most powerful and unforgettable moment comes when lovers Joey (Jake Dunn) and Claire (Lucie Shorthouse) embark on a hunger strike and a joint suicide pact. Aideen Malone’s lighting design, at once intimate and stark, combined with Rod Morris’ striking film work, brings TV cameras into the theatre-in-the-round space, making the audience feel uncomfortably close to the action. While the play doesn’t always maintain a strong emotional connection between audience and characters, this scene grips you entirely, largely thanks to Dunn’s magnetic performance. He also shines in his other roles, including the hilarious soldier and the enigmatic ‘Brink’, his versatility and presence are simply outstanding.

The entire cast deserves high praise for truly impressive performances. Laura Elsworthy is an undeniable force, while Kyle Rowe delivers a deliciously unhinged turn as ‘Skin Head’. Lucy Beaumont, known primarily for her comedic work, surprises with a quietly natural and effortless performance. Tom Courtenay’s portrayal of Jerry is particularly haunting. Seated alone in an armchair and captured through Morris’ evocative video design, he feels both distant and intimately present, drawing the audience into his world. Courtenay’s performance is also a deeply touching tribute to his friends who helped found the Royal Exchange Theatre, adding a layer of personal resonance to the video design appearing on stage.

Cartwright’s writing feels just as sharp and relevant today as it did back in the 1980s, tackling social inequality and economic hardship with honesty and humour. While the struggles on stage are rooted in the North, the play’s themes resonate far beyond, reflecting the ongoing challenges many communities still face, all while remaining highly entertaining. 

It’s worth noting that the entire run has sold out, but check the Royal Exchange Theatre website for day tickets, this is one ROAD well worth exploring. Tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Ros Kavanagh