The Curious Incident of the Dog in the Night-Time Returns to the North East

Melting Pot and Birmingham Rep's highly anticipated new production of The Curious Incident of the Dog in the Night-Time will be bringing its inventive theatrical magic to the North East in 2027, with performances at both Sunderland Empire and Darlington Hippodrome as part of a major UK and Ireland tour.

Based on Mark Haddon's multi-million-selling novel that captivated 10 million readers worldwide, this brand-new staging has been adapted by acclaimed playwright Simon Stephens and will be directed by one of the most exciting directors of his generation, Ned Bennett.

The Story

Christopher Boone is gifted with a brilliant mind for numbers, but unsettled by the unpredictability of people and everyday life. When a neighbour's dog is discovered killed, he finds himself under suspicion. Determined to prove his innocence, Christopher becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue he uncovers. What begins as the search for a culprit soon reveals secrets closer to home, forcing him to confront truths that will test his courage, his family, and his understanding of trust, independence, and the wider world.

Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Time combines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event described by The Times as 'crowd-pleasing, life-affirming and unmissable'.

A Theatrical Landmark

The Curious Incident of the Dog in the Night-Time premiered at the National Theatre in 2012 and immediately received widespread acclaim for its groundbreaking theatrical design, emotional storytelling and sensitive depiction of neurodiversity. It remains one of the most successful and acclaimed British plays of the 21st century and has been seen globally by over 5 million people.

The original production won seven Olivier Awards in 2013 (equalling the then record set by Matilda), including Best New Play for Stephens' stage adaptation, Best Director for Marianne Elliott and Best Actor for Luke Treadaway. The play debuted on Broadway in 2014 and scooped five Tony Awards in 2015, including Best Play, Best Direction of a Play and Best Actor. Numerous tours and international productions have followed across North America, Europe, Asia, and Australia.

A Fresh Vision for the 2020s

Playwright Simon Stephens says of the new adaptation: "The journey of The Curious Incident of the Dog in the Night-Time has been an extraordinary adventure. It has taken me all over the world. From church halls to enormous auditoria. From school drama clubs to Wembley Way. I am thrilled that Christopher Boone is about to head out again through the United Kingdom. He is a boy defined by his determination and his bravery. This feels like a time when those characteristics are more urgently needed than ever. Ned Bennett is a brilliant director. I have wanted to work with him for years. I couldn't have been happier that it is Ned who will reimagine my play for the 2020s."

Director Ned Bennett adds: "I'm absolutely thrilled to be directing The Curious Incident of the Dog in the Night-Time. Mark Haddon's beautiful story is uniquely tender and mischievous — a celebration of courage and imagination. It's a real privilege to collaborate with Simon Stephens on his iconic play, which so brilliantly balances an exquisite character study with a thrilling sense of theatrical adventure. The original production was an utterly extraordinary landmark theatrical event, it's incredibly exciting and an honour to contribute to the next chapter of this story's journey."

Tickets:

The production will visit Sunderland Empire from Tuesday 2 to Saturday 6 February 2027. General tickets go on sale Friday 21 November at 10am online at ATGTickets.com/Sunderland.

The tour will then continue to Darlington Hippodrome from Tuesday 25 to Saturday 29 May 2027. Tickets are on sale to Members now and go on general sale at 10am Friday 14 November. For full details or to book visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405.

Full casting and creative team to be announced.

For more information about the tour, visit www.curiousonstage.co.uk

NEWS: Affinity Radio Wins "Radio Station of the Year" for 2025/26

 

Affinity Radio Wins "Radio Station of the Year" for 2025/26

Newcastle's Community Voice Recognised for Excellence in Local Broadcasting

Affinity Radio has been awarded the prestigious Radio Station of the Year (2025/26) honour by the Corporate LiveWire & LTG Regional Awards, marking a significant achievement for the North East's community broadcaster.

The award recognises Affinity Radio's outstanding commitment to local broadcasting, community engagement, and creative excellence across Tyneside. For those who tune in every Sunday, this success story includes the North East Theatre Guide, which features as part of the Jowheretogo Radio Show, broadcasting on Sundays from 1-3pm on Affinity Radio.

From Radio Shields to Regional Success

Operated by Affinity Media NE CIC, a community interest company founded by CEO Kyle Scott, Affinity Radio has deep roots in North East community broadcasting. Kyle's career began at Newcastle & Gateshead's first full-time FM community station, bringing years of experience to the venture.

The station's journey started in August 2019 as Radio Shields, becoming one of the first to join the UK's small-scale DAB network. In December 2024, the service expanded with the launch of Affinity Radio Newcastle & Gateshead. A pivotal moment came on 8th June 2025 when, following Ofcom approval, both services merged under the unified Affinity Radio North East brand, creating a stronger, more cohesive voice for the region.

A True Community Effort

Broadcasting from studios at Pride Media Centre in Pelaw, Affinity Radio operates with a dedicated team of volunteers who handle presenting, producing, and station operations. The station partners with RedArmy Group and Tyneside Community Digital to deliver diverse, locally-led programming to communities across Tyneside.

CEO Kyle Scott 

CEO Kyle Scott expressed his pride in the achievement: "This award is a huge milestone for Affinity Radio and a testament to the passion, creativity, and dedication of our entire team. We set out to build a station that truly serves and represents our community, and being recognised at this level shows that our hard work is making an impact. I want to thank our listeners, partners, and supporters — we couldn't have achieved this without you."

A Genuine Local Radio Station

The award represents more than industry recognition—it celebrates everyone who engages with the station, from loyal listeners to volunteers, partners, and advertisers. Affinity Radio views this honour as an opportunity to expand programming and strengthen its commitment to social inclusion, education, and local storytelling.

The station's mission remains steadfast: to be a authentic voice for the North East, reflecting the culture, stories, and issues that matter most to local communities.

How to Listen

Affinity Radio broadcasts on DAB+ Digital Radio across South Shields, Tynemouth, Newcastle, and Gateshead, and is also available via livestream online, mobile apps, and smart speakers.

Don't miss the North East Theatre Guide on the Jowheretogo Radio Show every Sunday from 1-3pm, bringing you the latest news, reviews, and insights from the region's vibrant theatre scene.

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For more information about Affinity Radio, visit their website https://www.affinityradio.uk/ or tune in via DAB Digital Radio across Tyneside.

News: From Whitley Bay to the West End: Gerry & Sewell's Extraordinary Journey

 

From Whitley Bay to the West End: Gerry & Sewell's Extraordinary Journey

Aldwych Theatre, London

Tuesday 13 – Saturday 24 January 2026

Newcastle Theatre Royal 

Tuesday 9 – Saturday 13 June 2026

In what can only be described as one of the most remarkable theatrical journeys in recent North East theatre history, Gerry & Sewell is set to make its West End debut at London's prestigious Aldwych Theatre this January. For a show that began life in a 60-seat pub theatre in Whitley Bay just three years ago, this transfer represents not just a production milestone, but a powerful statement about regional storytelling and the universal appeal of authentic North East voices.

A Story of Underdogs, Dreams and Black-and-White Passion

Based on Jonathan Tulloch's novel The Season Ticket and the cult Geordie film Purely Belter, Gerry & Sewell tells the story of two Gateshead lads with nothing but a burning dream: to secure season tickets to follow their beloved Newcastle United. Set against a backdrop of austerity and unemployment, the pair embark on a mission filled with scrapes, schemes and the fierce friendship that defines working-class life in the North East.

It's a simple premise with profound resonance. After years of struggle and watching their football club sold to a "cockney bloke who sells sports tat," Gerry and Sewell decide they're getting those season tickets. And once they've got their mission, nowt is gonna stand in their way.

The production combines live music, puppet dogs, the magic of Wor Flags, and even the odd star cameo to create a wild, funny and heartfelt tribute to black-and-white dreams. It's both a love letter to Newcastle and a universal story of perseverance, loyalty and hope that transcends regional boundaries.

An Extraordinary Theatrical Journey

The show's trajectory mirrors the underdog story at its heart. Gerry & Sewell premiered in 2022 at Laurels, a 60-seat pub theatre in Whitley Bay, where it played to sold-out audiences and earned critical acclaim. Such was its popularity that it returned for a second engagement later that same year.

In 2023, the production transferred to Newcastle's Live Theatre, where it captivated audiences during an 11-night residency. The following year saw promotion to the city's premier stage when Gerry & Sewell became Newcastle Theatre Royal's second co-production of 2024. The iconic Grey Street venue was transformed into a sea of black and white as the show played to packed houses during its week-long run in October.

Now, just over three years since its humble beginnings, Gerry & Sewell is heading to London's West End for a two-week run at the Aldwych Theatre on the corner of Drury Lane. The venue, considered a mainstay of the West End, was most recently home to TINA – The Tina Turner Musical and will host Elf The Musical over the festive season before welcoming the Geordie tale in January.

The Creative Vision

Written and directed by Olivier Award-winner Jamie Eastlake, the production is a co-production between Eastlake Productions and Newcastle Theatre Royal. Eastlake's vision has remained consistent throughout the show's evolution: to tell a story of ordinary people chasing extraordinary dreams.

"The story of Gerry and Sewell is all about chasing a dream, overcoming adversity, being the little guys trying to be someone," Eastlake explains. "The fact that this show started in a little 60-seater pub theatre in North Tyneside and now is transferring to the West End feels like everything at its core is being mirrored. Young people from the North. From nowt. Their stories deserve to be told. Everywhere."

The production also marks a rare collaboration between the producers and Newcastle United Football Club, who have been working closely with the creative team to ensure an authentic celebration of the Toon spirit.

The Cast

Making their West End debuts are original cast members Dean Logan, Jack Robertson and Becky Clayburn, who have been with the production since its earliest days. They're joined by Erin Mullen, who came on board for the run at Newcastle Theatre Royal. Further casting is yet to be announced.

The fact that these North East performers are making their West End debuts with this production adds another layer of significance to the transfer. They are, in many ways, embodying the same journey as their characters – proving that with determination and talent, anything is possible.

A Statement About Regional Theatre

Marianne Locatori, Chief Executive of Newcastle Theatre Royal, emphasizes the broader significance of this transfer: "The North East region is rich in storytelling and having had the opportunity to work with Jamie and the Eastlake Productions team to present this fabulous tale on our own stage, we are delighted to be part of the next chapter of Gerry & Sewell. It is incredibly important that regional stories are told on a national stage by regional voices. Gerry & Sewell makes a bold statement about what can be achieved in partnership and celebrates North East creative talent and the ambition and spirit that make regional theatre a vital component of the UK's creative landscape."

This sentiment feels particularly resonant in an era when regional voices are increasingly recognized as essential to British theatre's vitality. Gerry & Sewell demonstrates that stories rooted in specific communities can speak to universal experiences, and that the passion and authenticity of regional productions deserve the biggest stages.

Looking Ahead: Return to Newcastle

Such is the demand for the show that Gerry & Sewell will return to Newcastle Theatre Royal for a second run in June 2026, opening on June 9th – a date made famous in the legendary Geordie folk song, The Blaydon Races. This homecoming, scheduled after the West End run, promises to be a triumphant celebration for North East audiences who have supported the show from its inception.

The Journey

Gerry & Sewell's journey from a Whitley Bay pub theatre to the West End is more than just a feel-good story about theatrical success. It represents a validation of regional storytelling, a testament to the power of authentic voices, and proof that with vision, talent and determination, geographical boundaries need not limit artistic ambition.

The production arrives in the West End at a time when Newcastle United themselves have been making headlines, adding an extra layer of timeliness to a story about Toon passion and working-class perseverance. For London audiences, it offers a window into North East culture, humor and heart. For those who've followed the show since its earliest days, it's a moment of well-deserved pride.

Whether you're a Toon Army member, a theatre lover, or simply someone who appreciates stories about ordinary people achieving extraordinary things, Gerry & Sewell promises to deliver laughter, tears and a powerful reminder that dreams are worth chasing – no matter where you're from or how impossible they might seem.

Tickets:

London Run: Gerry & Sewell plays at the Aldwych Theatre from Tuesday 13 – Saturday 24 January 2026. Tickets available from Friday 14 November at ticketing.nederlander.co.uk/tickets/series/gerryandsewell

Newcastle Return: Gerry & Sewell returns to Newcastle Theatre Royal from Tuesday 9 – Saturday 13 June 2026. Tickets available at www.theatreroyal.co.uk or by calling 0191 232 7010.

REVIEW: Charlie and the Chocolate Factory at the Newcastle Tyne Theatre

Charlie and the Chocolate Factory

Newcastle Tyne Theatre & Opera House

Until Saturday 15 November 2026

A family friendly musical is charming audiences at the Opera House down Westgate Road this week. 

Based upon the popular Roald Dahl book, the tale of a young lad that gets a chance to tour the local chocolate factory, works as a musical. The big surprise is that it took until 2013 for the show to be launched in the West End. I have been lucky in that I saw both the London show and the recent professional tour. This is an amateur performance but a  number of the cast have worked professionally and it shows.

Charlie and the Chocolate Factory follows young Charlie Bucket (Liam Mather-Pender), a kind-hearted boy from an impoverished family who dreams of a better life beyond the ramshackle house he shares with his parents and four bedridden grandparents. When the reclusive confectioner Willy Wonka announces a global competition—five Golden Tickets hidden in his chocolate bars, each granting its finder a tour of his mysterious factory and a lifetime supply of sweets—Charlie's wildest fantasy seems impossibly out of reach. But fortune smiles on the Bucket family, and Charlie claims the final ticket, joining four other children—spoiled Veruca Salt (Isabel Langston), gum-chewing Violet Beauregarde (Emma Damo), gluttonous Augustus Gloop (Finn Cassidy), and television-obsessed Mike Teavee (Ethan Fagan) —on a fantastical journey through Wonka's candy wonderland. They accompanied by parents that reflect their children's habits, the story is one in which Dahl examined human behaviour.

Now the musical, by David Greig, is a product of this century and it has been updated from the classic book and movie to include mobile phones and social media. I guess that helps make it relevant to a generation that have never known life without them. Beyond that, the story stays fairly faithful to the intention of the original text. The music by Marc Shaiman and lyrics by Shaiman and Scott Wittman does an effective job of telling the story. There are some classic musical "I want" songs like If Your Father Was Here which Eloise Damo, as Charlie's Mother Mrs Bucket sang with emotion. The most popular song from the 1971 movie Pure Imagination is still here and Gram Cummings took ownership of this classic number.

Whilst the title mention's Charlie, this show, especially in the second act, has Wonka as the central character and Cummings has the onstage charisma to be centre stage. As he deals with each naughty child, he does so with a malice free smile. Likewise Alan Davison's Grandpa Joe is a affable chap that is clearly proud of his grandson, and in doing so Davison has got the tone right.

The kids do really well in their respective roles, coping well if something doesn't quite go to plan as the action unfolds. The ensembles best moment is the reveal of the Oompa Lumpas and the squirrels. Both scenes got a positive reaction off the audience.

Perhaps the obvious change with the recent tour is in the props and special effects. Having said that, the show copes well with bringing the television room to life and visualising the effect of blueberry pie. The show also features live musicians which helps with the energy of the production.

Charlie and the Chocolate Factory is a fun musical and this version made for a very pleasant evening at the theatre.

Review: Stephen Oliver

Tickets:

Tickets are available from the theatre box office and website: https://www.tynetheatreandoperahouse.uk/whatson/starlight-theatre-productions-presents-charlie-and-the-chocolate-factory-2/#Tickets_in 

REVIEW: Big Ange at Newcastle Live Theatre

Big Ange 

Newcastle Live Theatre

Until Saturday 22 November 2025

A play about politics, working class life and growing pains lands in one of the UK's leading theatres for new writing this week.

Big Ange (Joann Condon) is one of the dinner staff at a secondary school. Originally from London, she looks out for the lads and tries to help beyond her natural job remit. This can involve putting on trips to the local museum, running discos or helping out with the football team. She tries to support Steven (Curtis Appleby) who is a promising footballer who enjoys taking short videos but he is getting influenced by the videos he watches as much as the people he talks to. His older sister Caroline (Erin Mullen) is back in Blyth from down south herself, complete with her baby. She is a left wing activist who has done a fair bit of protesting herself.

The funky set (Richard, Rosie and Joe Power) with its wonky lockers that can double for screens for the the video projections and lighting effects (Drummond Orr) leave a lot of space for an ensemble of young performers who didn't put a foot wrong during their various routines. The young female cast members Lucy Eve Mann, as the right wing agitator and Erin Mullen as the left wing agitator were good at working with the material that they had but it felt like a male voice trying to advocate for women rather than a natural female voice - certainly it gave my female companion plenty to say on the way home.

Likewise, the idea that everyone at Steven's school are watching his videos at but at no point is safeguarding or Prevent kicking in to support him suggests a lack of insight into how schools currently operate.

So whilst the heart, the intention of the story is in the right place, the execution is uneven. This was not helped by some cast tripping over their lines a number of times. There are some light hearted moments- not always planned, I suspect, as the audience did laugh a few times, which given the heavy going nature of the story added some relief. 

We love going to Live Theatre. We love the daring aspect of productions, seeing new talent blossom, both on and off stage. We are often blown away by the creativity shown in the relatively small space. However, occasionally, a show reaches opening night that needed a little longer in the incubator, more time with workshopping, a chance for the script to reach maturity before it is hatched on the big stage. I remember another show emerging after a few years back in development that had completely changed and was much much better second time around. 

This story has potential. Perhaps on another night I may feel differently about it?

Review: Stephen Oliver

Tickets:

Big Ange runs from Thursday 6 to Saturday 22 November with tickets from £11 to £26. To book go to https://www.live.org.uk/whats-on/big-ange

REVIEW: Sunny Afternoon at Sunderland Empire

Sunny Afternoon

Sunderland Empire

Until Saturday 8 November 2025

The Kinks' Story Hits All the Right Notes

British band The Kinks have a wonderful back catalogue thanks to their songwriter Ray Davies. He combined the world he lived in with memorable music to produce great hits such as All Day And All Of The Night, You Really Got Me, Waterloo Sunset, Lola and Dedicated Follower of Fashion. The musical Sunny Afternoon has all of those hits wrapped up in a story of a band that refused to compromise. The resultant show is a satisfying evening of entertainment that reminds us why The Kinks remain one of Britain's most distinctive musical voices.

Jukebox musicals either follow a random story that vaguely links the songs together like Mamma Mia or Bat Out of Hell, or they tell the story of the band like in Jersey Boys or Buddy. Sunny Afternoon follows the latter model and looks at the rise in fame of The Kinks. From a band which considered themselves lucky to get a gig at a birthday party to a band playing the likes of Madison Square Gardens. The book by Joe Penhall, based upon Ray Davies' original story, shows the trouble the band often faced as it stuck to its socialist principles and refused to play the music industry game by conventional rules.

The show runs for 2¾ hours, including interval, partly down to the lack of compromise over which songs to cover. Indeed, unlike many jukebox musicals, there is little mashing up of lesser hits into medleys – here we get decent length versions of the hits. Let's face it, with this back catalogue – you should flaunt it. The musicians are on stage with musical director Michael Cullen, creating an immersive experience. The lines between a musical and a gig are sometimes blurred but that's just the nature of the beast, and it works in the show's favour.

The story begins in Muswell Hill as four lads try to be successful and make a living out of their music. Drummer Mick (Zakarie Stokes) and bassist Pete (Harry Curley) were often out of the limelight behind the Davies brothers. Ray Davies (Danny Horn) goes through life writing songs about his experiences when his brother Dave (Oliver Hoare) comes up with a distorted, loud power chord. After a few flops they now had a number one hit on their hands.

Horn and Hoare bring considerable experience to their roles, having reprised them after acclaimed runs both in the West End and at the Chicago Shakespeare Theater in the show's North American premiere. Their chemistry as the Davies brothers feels authentic, capturing both the creative spark and the fraternal tension that defined The Kinks. Incidently, Ray Davies himself has expressed his support for this cast, stating: "I'm pleased that Danny and Oliver are rejoining Sunny Afternoon after their brilliant run in Chicago and look forward to Harry and Zakarie joining the band."

Curley brings recent experience from Sing Street at the Lyric Hammersmith to his portrayal of Pete Quaife, whilst newcomer Stokes marks his professional debut as Mick Avory following training at Guildford School of Acting. Both handle their roles with assurance, bringing depth to characters who could easily have been overshadowed by the Davies brothers' drama.

The story shows how they, like many bands of the era, signed contracts that ensured the money went to many other people rather than the band themselves. Ray falls in love with Rasa (Lisa Wright) and having a young family adds additional pressure to the band dynamic. The musical doesn't shy away from the financial exploitation that was rife in the 1960s music industry, nor from the personal cost of fame. The Kinks were also pioneering in taking on the USA and they quickly faced new problems on the huge tours of the States, including a controversial ban that kept them out of America for four years.

There is the natural humour that comes from the behaviour of the brothers but there's also some tongue in cheek humour in the references to John Lennon, Keith Richards, Paul McCartney and others. The show cleverly positions The Kinks alongside their contemporaries without ever feeling like it's name-dropping for the sake of it. There is also some swearing but it isn't over the top – it feels appropriate to the characters and the era.

The action takes place on an effective set, designed by Miriam Buether, which is made up of three walls of speaker cabinets. The sound is often loud, as suits the music, thanks to Matt McKenzie's design and the lighting design by Rick Fisher adds to the gig-like atmosphere. Under Edward Hall's direction, with choreography by Adam Cooper, the production maintains energy throughout its lengthy running time.

The music in the show is strong. Accomplished musicians coupled with capable singing talent help replicate that Kinks sound – that distinctively British rock that set them apart from their peers. Some of the audience were up on their feet at the end during Lola, testament to the enduring appeal of these songs. The story works as it feels honest. Ray is a talented songwriter and described the world as he saw it well. It is as if he was writing for a musical back in the 60s, with his observational lyrics about British life translating naturally to the stage.

The narrative shows Dave as a young loose cannon, whilst Pete and Mick get fed up with the proceedings. You feel that ultimately the band is going to struggle to stay as a unit due to the pressure cooker environment it finds itself in – the constant touring, the financial pressures, and the personality clashes that inevitably arise.

Sunny Afternoon is a celebration of one of the great 60s British bands that captured the spirit of the times. Good songs and a faithful storyline add together to create an enjoyable musical evening that works both as drama and as a showcase for some of the finest pop songs ever written.

Review: Stephen Oliver

Photos: Manuel Harlan

#ad 

Tickets:

Show: Sunny Afternoon

Dates: Tuesday 4 – Saturday 8 November 2025

Tickets: from £15 online at ATGTickets.com/Sunderland *

*May be subject to a transaction fee of £3.95

REVIEW: Grimm at Newcastle Alphabetti Theatre

Grimm

Newcastle Alphabetti Theatre

Until Thursday 30 October 2025

A play about the Grimsby fishing Industry during the middle of the second Cod War has landed in Tyneside this week. Detailing the lifestyle of the "three day millionaires", and the wives they left behind for three weeks at a time, the story highlights a 20th century battle that the UK lost and the reasons why the industry headed to oblivion. But more than that, it flags up the sacrifices made by both those on and off shore.

It is July 1973 and a trawler has landed in Grimsby and the crew are heading for The Ship Discotheque - the first and only such venue in Grimsby. The Beatles didn't get to these parts (as they were too busy playing in places like Hull) so the jukebox is loaded with classic rock and roll with a tiny bit of modern stuff like Bowie.

We are introduced to a barmaid Esther (Sophie Clay) who awaits her husband and father of four Paddy (Marc Graham) whilst the younger barmaid Ivy (Evangeline Henderson) is looking forward to her bloke Jim (Jake Cooke) returning from his first trip. They pile in with Roger (Chris Finn) who has yet to check in with his wife - who is out looking for him. Ensuring everyone is correctly dressed, with a tie, is Alan (Adam Perrott) who himself is expecting to go for his "ticket" (the assessment to become a skipper). The big question is: will Ivy accept her place to study English Literature in Manchester or will she stay put as her boyfriend expects?

I need to declare, as one of just 2 in the audience who were aware of the cod wars, that I was raised in Hull in walking distance of the fish dock. Lads down my street became "decky learners" (apprentices on the trawlers) and we had lads stay with us who were studying for their "ticket" at the Humberside College. Whilst I knew the terms that the cast used, I did wonder in the programme need a short glossary. Having said that a fair bit was explained as the cast broke the fourth wall. It was interesting to hear the Grimsby lads had similar superstitions to the Hull lads. My companion was the other who knew of the cod wars and she remembered taking time off school to ensure that the council did not repaint the front door green. Anyhow, I digress...

The lads off the trawlers arrived on shore with a full wage packet and just three days before their next trip out. Often they'd visit the tailors in order to look their best before hitting the bars. Before too long they'd be back on their boats, literally risking their lives in the rough unforgiving seas. But this is 1973 and the Icelandic navy is trying to enforce a 50 mile exclusion zone. This play makes no reference to the hassle off the Russians too, but I guess that'd be too much exposition. 

In Evangeline Henderson's script we get the juxtaposition between the young couple in the first flush of love versus the older couples that have strained relationships thanks to the demand of the lifestyle. The audience also get to see the friction between this happy band of fishermen. 

The play works because you care about the characters. You want them to do well but the alcohol flows. Special mention goes to Chris Finn who pulls off "drunk" in a spectacular way.  This is a kitchen sink drama that lifts the lid on a foodstuff that many take for granted and an industry that was neglected. 

The creatives behind the show are to be applauded for taking this show on tour away from the banks of the Humber - where it will find an easy audience - and it deserves to do well. The lived experience of a generation who are still with us is a part of our history - a history that needs to be told.  

Review: Stephen Oliver

Photos: Isaac Johnson/Behind the Eyes

Tickets:

GRIMM is touring venues across the UK, reaching from Lincolnshire to Northumberland and South West Wales. The two-night run at the Alphabetti Theatre promises specific access provisions:

• Alphabetti Theatre, Newcastle: Thursday 30 October 2025 (Audio Described)

Link: https://www.alphabettitheatre.co.uk/grimm

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The Headscarf Revolutionaries: Lillian Bilocca and the Hull Triple-Trawler Disaster by  Brian W. Lavery 

Available from Waterstones: LINK