A new play capturing the gritty hopes and harsh realities of life in the North East has made its way to the heart of London's theatre district. Jamie Eastlake's "Gerry & Sewell" is now showing at the Aldwych Theatre, where it will run until 24 January.
From Tyneside Social Club to the West End
The production has its own rags-to-riches journey, having first been staged in a modest 60-seater social club in north Tyneside back in 2022. Adapted from Jonathan Tulloch's award-winning 2000 novel, The Season Ticket – which was also turned into the film Purely Belter – the play follows two young friends from Gateshead. Dean Logan plays Gerry and Jack Robertson is Sewell, two disenfranchised lads whose central, seemingly simple dream is to secure a prized Newcastle United season ticket.
Their picaresque and often desperate quest, which sees them scour the Tyne for sellable scrap and even turn to burglary, is set against a bleak backdrop. The narrative doesn't shy away from dark family dramas involving poverty, domestic violence, alcoholism, and sexual abuse. This mix of comedy and tragedy feels acutely relevant in today's continuing age of austerity, offering a subtly damning commentary on a region often left drained of resources and optimism.
A Vibrant But Incohesive Blend
Director Jamie Eastlake employs a bold, multi-genre approach to tell this story, weaving together song, dance, comedy, and spoken-word poetry. The production boasts vibrant performances, notably from Chelsea Halfpenny as Gerry's aspiring singer sister, Claire. The choreography by Lucy Marie Curry and Sean Moon is effective, featuring a distinctive ensemble clad in balaclavas.
However, the review finds the overall result to be messy and incohesive. The various elements – sudden breakouts into club beats and pop songs, long comic diversions about an adopted dog, and toilet humour – often pull against each other rather than forming a unified whole. While these moments aim for feelgood charm, they can dilute the power of the more serious family drama at the play's core.
Glimmers of Power Amidst the Chaos
There are undeniable sparks of brilliance. The second half features several powerful family scenes, including a standout monologue from Erin Mullen as Bridget, Gerry's elusive sister, which channels the raw intensity of works like Gary Owen's Iphigenia in Splott. The play is also credited with having a ton of heart and soul, and the central performances by Logan and Robertson are committed and vivid.
Yet, fundamental narrative threads suffer. The central season ticket plotline loses momentum, and some basic plot points remain frustratingly fuzzy by the conclusion. The verdict suggests the play might have found greater depth by more fully embracing its inherent darkness instead of reaching for broad, crowd-pleasing comedy.
Ultimately, "Gerry & Sewell" is a production of clear potential and passionate local spirit that struggles to cohesively contain its many ambitious parts on the prestigious West End stage.
