Takeaway | Liverpool Everyman

It is important that the notion of theatre being for everyone, regardless of ethnic background, social class, sexuality, et al, is maintained at all costs, which is at the heart of why works like Nathan Powell’s new play Takeaway are so vital to the life breath of theatre, as they speak to multiple generations and ethnicities, which bring in new audiences, whom wouldn’t necessarily enter a theatre otherwise. And though the overriding themes of Takeaway are real, raw and enormously relevant even today, one can’t help but feel like it has been served to the public before it’s ready.

Visually it can’t be faulted, Georgia Wilmot’s set and costume designs are fabulously characterful; the shop itself has an established, lived-in quality to it, and its functionality adds so much to its charm, especially with the kitchen in the back through a doorway adorned with streamers. This was also enhanced brilliantly by Laura Howard’s lighting design, which adds to the realism of the setting. Whilst visually stunning though, the actual narrative content, and how it’s directed by Amanda Huxtable, is fairly inconsistent, albeit emotionally driven and enormously heartfelt.

All the heart in the world though has to be coupled with solid literary acumen, which is only present in part. Powell’s script contains bags of personality but lacks refinement, as evidenced by some of the more earnest and perfervid moments feeling insincere, at times melodramatic. It was also let down by general poor diction in the absence of cast mics; if you opt not to use microphones, it is important this is justified by means of strong projection and clarity of delivery, and were it not for the closed captions being present, it would have proved rather difficult to make out what was being said half the time.

The performances were something of a mixed bag. Phina Oruche as stalwart matriarch Carol is stern, stubborn, at times terrifying, but always true to herself, in a beautifully nuanced performance. The other major highlight was Wayne Rollins as chef, a perpetual calming influenced delivered with sincerity and a great deal of humour. Adi Alfa and Bill Caple as Browning and Richard respectively, though not necessarily the most noteworthy, both still gave very good accounts of themselves; unfortunately Bene Sebuyange's portrayal of younger sister Shelly felt impassioned yet stilted, lacking fluidity, and at times felt rather forced. That said, the stubbornness and brattiness we ultimately come to associate with the character was rather well executed.

It was evident, though, that a sense of community and family was at the heart of this play, and bad pun notwithstanding, that may be the biggest takeaway from this well intentioned, yet flawed piece. In spite of the writing and direction being a tad clunky, the familial conflict feels real, and hugely relatable to anyone who has experienced fragmented relationships with siblings or parents.

Takeaway is a play that’s made with love and care, but frustratingly could do with a touch more seasoning, and perhaps a couple of extra ingredients, to really bring it to life.

Takeaway plays at Liverpool Everyman until Saturday 17th May 2025.

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★★☆☆☆ (2*)

Gifted tickets in return for an honest review | Photography by Sharron Wallace