Manchester Theatre News & Reviews

REVIEW - Going Out Out will give you spark and courage!

BOOK YOUR TICKETS HERE

On Tuesday, we were invited to Home, Manchester to see Going Out Out. Read what our reviewer Andrea Horrocks had to say about this brand new play ...

Going Out Out is a brand-new play written by Barney Norris (Visitors, Eventide, Nightfall) and directed by Jess Edwards (Conversations After Sex, Carrie: The Musical, War & Culture) so when I was invited to review the show, I was excited but had no idea what to expect! I’d done my homework, I watched the fabulous interview with James Quinn on ManchesterTheatres.com and I knew there was a superb cast, so I arrived at HOME Manchester full of anticipation. What I experienced was a soulful journey of laughter, joy, hope and courage. Going Out Out envelops you in a perceptive story filled with music, healing, and joy. It is a story rich with themes and layers that draw you in and out of thought-provoking ideas, keeping you engaged from start to finish. The threads of grief and loneliness are carefully intertwined with hope and friendship throughout, and with the clever use of set and lighting, we’re treated to a heartwarming and poignant story – one that also shines with the humour, fun and sparkle of drag.

When I entered the theatre, the first thing that caught my eye was the small sparkly podium and microphone to the left of the stage. It quickly became clear that this glitzy setup was in sharp contrast to the rest of the set, which was styled as a simple, understated living room and a very “beige” one at that. Beige wallpaper, beige sofa, a simple coffee table, and not a photo or picture in sight. It was neat and tidy, almost too much so, and noticeably lacking in personality, this wasn’t the typical drag queen set I was expecting but all became clear once we were introduced to Ian, a widower played by James Quinn (Many appearances at Manchester’s Library Theatre, TV credits Early Doors, Brassic, After the Flood, Bancroft, Doctor Who, Gentleman Jack, Coronation Street).

Ian enters the stage wearing one of his late wife’s dresses, it makes him feel closer to her, and, as he explains, it makes him feels cooler on a hot day. We learn that he was once an outgoing, smart, bright man, but as he spent more time at home caring for his wife before she passed away, his world began to shrink. Now, as a widower, he’s become a recluse, he has a distant and complicated relationship with his daughter and is seemingly estranged from his son and is so accustomed to staying at home that he finds it difficult to leave the island his home has become. We get a sense of the loneliness Ian is feeling as he tends to his garden singing away to himself but he is startled by the entrance of Raz played by Darren Kuppan (TV credits Dodger, Spooks, Home from Home, Coronation Street) who is delivering his shopping. Neither of them realises that this meeting will lead to a beautiful friendship that will entice Ian out of his home and island and into the vibrant Manchester Drag scene. It is perhaps an unlikely friendship between a man in his 60s and a drag queen yet it is a friendship which creates space to ask questions, removes the awkwardness of misunderstanding and opens the narrative in a way that makes it OK to get things wrong.

From this moment, we are invited to share in Ian’s transformation. Although this transition seems to happen at a speed which is slightly at odds with Ian’s struggles, nonetheless we share in his frustration at how small his world has become and feel his sadness as he faces the reality of reaching the end of his life, believing his only relationship is with the TV. Through Raz’s character and energy, we see how he gradually entices Ian out of his solitude. Darren Kuppan delivers a gentle yet impactful performance guiding and teaching at Ian’s pace all the while delivering Raz’s dry humour with perfect timing. His energy is always well-placed, and his breakouts into song land beautifully, enhanced by the fantastic lighting changes and mirror ball.

James Quinn delivers a moving performance, gentle and subtle, portraying a man eager to face the challenges that will help him steer his life back on course, He is clearly unhappy with the circumstances he’s found himself in, and James Quinn conveys this in a way that we can sense Ian’s quiet yearning to break free from his sad and lonely situation. As Ian navigates these uncharted waters, he attempts to reconnect with his daughter, Lauren, played by Verity Henry (B Shorts, Wuthering Heights at Hurricane Speed, A Great War). Verity Henry’s performance is vibrant and engaging, capturing Lauren’s desire to reconnect with her father despite their clearly fractured and strained relationship while also hinting that she is facing her own personal struggles. She also subtly conveys her connection to her mother through her need to be tidy — plumping cushions, clearing chairs and glasses. It is apparent Lauren and Ian have drifted apart, yet both genuinely want to make it work, even as they struggle against the barriers of communication.

Miriam Nabarro’s set was cleverly designed so that it changed throughout the play according to the mood, the “beige”, starting set that felt somewhat static was replaced after the interval with a more dynamic set, a bar in the club including a striking Cocktails and Dreams neon light and glimpses of a pink, sparkly dressing room. This instantly brought a fresh energy and atmosphere to the second half of the show signalling the next stage of Ian’s adventure has begun and of course as Ian blossoms so does the set and lighting, ready for the final scene! The drag costumes are sparkly and bold, as you would expect, yet they are also subtle, elegant and classy, perfectly mirroring the tone and pacing of the play. Ian’s outfit not only dazzles visually but enhances the storytelling, highlighting his personality and the heartfelt spirit of the show. Music plays a big part in this show, with each choice carefully selected to reflect the characters’ moods. We are treated to songs from different eras to suit all musical tastes, and each piece contributes perfectly to the atmosphere, from joyous and uplifting moments to more tender, reflective ones.

Going Out Out highlights the need for friendship, love, and connection. It celebrates and explores queerness and shows, in a humorous and moving way, that loneliness can be overcome. It does lack pace at times, and opposingly gallops through character development at others, so it seems one moment Ian has been unable to leave his house in years, and in the blink of an eye he is suddenly getting the tram to a club in town all by himself, which placed a few stumbling blocks in the believability. However, the play is a truly lovely watch, and emphasizes that the labels we carry do not define us, that we can rediscover different parts of ourselves and gently rekindle our creativity. It is a show about family and connection with universal themes and leaves you pondering and reflecting on the possibilities of your own future. If you notice your comfort zone slowly shrinking and your confidence waning, Going Out Out at HOME Manchester may just give you the spark and courage you need to start turning “I can’t” into “I can.”

WE SCORE GOING OUT OUT...