Review: OutHaus – Tenderfoot Theatre Company At Edge Hill University Arts Centre
OutHaus, a work-in-progress production by Tenderfoot Theatre Company, embodies a raw, exhilarating energy that belies its developmental status. This isn’t your typical tentative workshop performance, fraught with nervous glances and hesitant line deliveries. Instead, this 90-minute theatrical romp pulsates with a vibrant, infectious enthusiasm, grabbing the audience from the first moment and refusing to let go. It’s a testament to the company’s commitment to dynamic storytelling and a clear passion for the themes they explore.
The premise itself is intriguing: a near-future North West England where the very concept of green spaces has been outlawed. This dystopian backdrop becomes the fertile ground for OutHaus to explore the intertwined struggles of preserving both the natural world and the vibrant, often marginalized, queer community.
At the heart of the story lies a clandestine speakeasy, a hidden sanctuary nestled within the unlikely confines of a derelict public toilet. This underground haven becomes home to a motley crew of cabaret performers, each a unique and compelling character in their own right: a dazzling drag queen, a charismatic drag king MC, an aspiring singer with dreams of stardom, a surprisingly articulate circus duck, and the ever-present, watchful bartender / club owner. These individuals, drawn together by a shared sense of belonging and a defiance against the oppressive forces surrounding them, find themselves unexpectedly thrust into the role of protectors, battling the authorities to safeguard their precious haven.
Inspired by a sobering Friends of the Earth report on the growing Green Space Gap, OutHaus fearlessly tackles these weighty themes. The play grapples with the devastating consequences of losing vital natural areas, the insidious erosion of queer and artistic spaces, and even the often-overlooked struggles of the animal kingdom in a world increasingly dominated by anthropocentric perspectives. Yet, despite the gravity of these issues, OutHaus never succumbs to heavy-handedness or didacticism. Instead, these serious themes are explored with a playful, purposeful spirit, a hallmark of Tenderfoot’s apparent theatrical philosophy. They manage to infuse the narrative with a sense of humour and hope, reminding us that even in the face of adversity, joy and resilience can flourish.
The production itself is a testament to company’s boundless creativity. The set design, though perhaps suggestive of its “work-in-progress” nature, is nonetheless striking and evocative, effectively creating the atmosphere of a hidden, underground world. The lighting design, particularly during Magnolia’s (Nicola Hardman) incarceration, is cleverly employed to heighten the emotional impact of
the scene. The use of off-stage narration adds another layer of depth to the storytelling, providing context and insights that enrich the audience’s understanding of the narrative. And the moments of audience participation, though perhaps slightly uneven in their execution at the moment, demonstrate a willingness to break down the fourth wall and engage them in a more direct and interactive way.
On stage, the ensemble cast shines brightly, each performer contributing their unique talents to the overall dynamism of the piece. Hardman and Joseph Roberts, as the flamboyant Magnolia and the quick-witted Christoff, deliver a masterclass in comedic timing, their high-energy performances providing many of the play’s laugh-out-loud moments.
But beneath the surface of their comedic brilliance, they also offer glimpses of vulnerability, grounding the play with touching scenes that explore themes of loss, family, and the search for belonging. Georgie Cunningham and Alex Susuki, as the more reserved Gina and Sunny, skillfully navigate the complexities of their relationship, conveying the nuanced dynamics between their characters with a quiet authenticity that resonates deeply.
Kate-Elizabeth Carey, as the seemingly laid-back stoner scally Durt Bag (DB), emerges as a crucial pivot point in the narrative. DB acts as “chorus,” a theatrical device offering explanations and insights to the audience, guiding them through the intricacies of the plot and providing a crucial link between the various storylines. Carey’s performance grows exponentially throughout the play, and her deft execution of a riotously funny puppet show leaves the audience howling with delight. It’s a performance that showcases her impressive comedic talent. Overall, these are characters that the audience quickly become emotionally involved with, again due to the skill of the cast.
Tenderfoot’s challenge now lies in the delicate process of refining this abundance of creativity, streamlining the narrative flow while carefully preserving the vital chaotic energy that defines the piece. They must find the right balance between the play’s playful exuberance and its underlying message. Crucially, the play’s eco-message, its raison d’être, must not be lost in the shuffle. The urgency of the environmental themes must remain at the forefront, driving the narrative forward and giving the play its ultimate purpose. However, with such a clearly talented and passionate company at the helm, success hopefully seems all but assured.
Sitting at the back of the theatre, observing the performance unfold, I couldn’t help but draw parallels between OutHaus and John McGrath’s seminal work, The Cheviot, the Stag and the Black Black Oil, particularly in their shared approach to theatre as a means of social commentary and community engagement. This is high praise indeed, and it speaks volumes about the potential of OutHaus to resonate with audiences on a deeper level. Tenderfoot is clearly on the right track with this production, and the final version promises to be something truly
special, a theatrical experience that is both entertaining and thought-provoking. OutHaus is a reminder that theatre can be a powerful force for change, capable of inspiring us to see the world in a new light and motivating us to take action.
The wait, I suspect, will be well worth it.
Steve Kinrade – @Kinras66
