Chris Birchall

Liverpool’s Royal Court Theatre

They called him the Dovecot Dynamo.
Michael Cullen — better known as Speedo Mick — is the larger-than-life Everton superfan who pulled himself from the depths of homelessness and addiction to raise over £1 million for charities supporting disadvantaged and homeless people across the UK.

His journey is nothing short of extraordinary. From sleeping in shop doorways and battling mental health challenges, to swimming the English Channel and trekking from Land’s End to John o’ Groats — wearing nothing but his signature blue Speedos — Mick’s story has captured the hearts of the nation.

Now, that incredible journey takes centre stage in Speedo Mick – The Musical, brought to life at Liverpool’s Royal Court.

The show was inspired by Mick’s real-life transformation and written by acclaimed screenwriter John Fay (Brookside, Torchwood), with music by Boff Whalley of Chumbawamba fame.

It’s the perfect production for the Royal Court — energetic, heartfelt, hilarious, and uniquely Scouse. Directed by Conrad Nelson, the show features a talented 11-strong cast of actor-musicians who fill the stage with charisma, emotion, and brilliant live music — no orchestra pit required.

In the title role, Paul Duckworth delivers a powerhouse performance as Speedo Mick. A fellow Evertonian, Duckworth has clearly spent time with Cullen, channelling his humour, grit, and vulnerability with authenticity and heart.

Lenny Wood shines as Johnny, Mick’s alter ego, injecting the character with both comedy and compassion as the show confronts difficult themes such as depression, addiction, and suicide. His performance strikes a delicate balance between laughter and raw emotion.

One standout moment comes when a character in a red scarf begins to utter the famous football anthem “You’ll Never Walk…” — only to be swiftly cut off by Mick before the cast launches into a hilarious parody number, “You’ll Never Walk Unaccompanied”, one of many clever and catchy original songs peppered throughout the show.

The musicality of the cast is exceptional — switching between electric and acoustic guitars, saxophones, brass, and even a tuba. In one memorable scene, Steve Simmonds wows the audience with a soaring, soulful guitar solo that brings a moment of stunned silence.

In conclusion, Speedo Mick – The Musical is more than a feel-good show. It’s a gritty, uplifting, and moving tribute to a real-life local legend. With humour, music, and heart, it tells the powerful story of a man who turned personal pain into purpose — and continues to do so today.

The show gets ⭐⭐⭐⭐⭐ 5 Stars from me.

It runs until 5th July and tickets are available from the Royal Court Box Office

Last month, the stage at Liverpool’s Royal Court was packed to the rafters with a 50-strong cast in a production about Bill Shankly’s legendary time at Liverpool FC. This month, it’s a very different story. Making It strips things right back, with just two actors and a whole lot of heart, as it follows Bev, a cabaret singer and showbiz survivor, on her bittersweet journey through a life chasing fame.

Written by director Stephen Fletcher and Liverpool’s own Catherine Rice — who also stars — the play centres on Bev as she reflects on her four-decade-long pursuit of stardom. Now clinging to hope for a long-awaited film role, she scrapes by, performing in working men’s clubs, preparing for what she’s decided will be her final gig: tonight, at the Kirkby Boilermakers and Shipbuilders Social Club.

The story unfolds in a beautifully crafted, funny, and at times moving monologue, as Bev recounts her brushes with shady agents, sleazy managers, dodgy photographers, and the endless cast of false promises that seem to define her industry.

Playing all these characters — dozens of them, in fact — is the incomparable Andrew Schofield, one of Liverpool’s finest comedic actors. With nothing more than a quick costume change and a flick of energy, he morphs seamlessly from one role to the next, each more hilarious or heartfelt than the last. His timing is impeccable, his delivery razor-sharp, and his portrayal of Bev’s late father and a down-on-his-luck club owner adds genuine emotional weight to the piece.

Although the laughs come thick and fast, Making It is more than just a comedy. It’s a story of resilience, dreams, and the harsh reality behind the glitz and glamour. It reminds us that behind every performer is a person still chasing their big break.

Whether you’ve ever stood in a spotlight or just dreamed of something more, this poignant, laugh-out-loud play will speak to you.

Making It runs at the Royal Court until 17th May—and it would be a crime to miss it.

David Peace’s 2013 novel, Red or Dead, a fictionalised take on Bill Shankly’s legendary career at Liverpool Football Club, arrives on stage at Liverpool’s Royal Court Theatre—a venue typically known for its lively, comic productions filled with scouse wit.

It’s certainly a brave choice to step away from the theatre’s tried-and-tested formula of crowd-pleasing musical comedies. Yet, there’s precedent for more serious drama here, such as the 2008 staging of Stephen King’s Misery, and more recently, Alan Bleasdale’s powerful Boys from the Black Stuff.

Perhaps staging Red or Dead wasn’t as big a gamble as it seemed, given Liverpool’s deep-rooted passion for football and enduring affection for the Shankly era—something even Everton fans might grudgingly respect.

Adapting Peace’s ambitious novel for the stage was never going to be easy, but director Phillip Breen handled it brilliantly. He captures all the passion, drama, and raw ambition that Shankly injected into his players and passed on to Liverpool’s faithful fans.

The sheer scale of the production is impressive, with fifty-two actors taking part, including twelve principal cast members who vividly portray iconic figures like Bob Paisley, Matt Busby, Kevin Keegan, Ian St John, and Emlyn Hughes—there’s even a cameo from Cilla Black brought back to life by Jhanaica van Mook with a wonderful rendition of “Anyone Who Had a Heart”! Despite such a large cast, the production flows effortlessly, a testament to excellent stage management and direction.

Peter Mullan’s portrayal of Bill Shankly is nothing short of brilliant. He is charismatic, gritty, and full of dry humour, even when briefly breaking character with a wry smile during a line-slip on press night. Mullan embodies Shankly so convincingly, you’d almost believe the famous Anfield statue had stepped off its pedestal and onto the stage.

The play covers Shankly’s tenure at Anfield, from his arrival in 1959 to his sudden death in 1981, and the production is an energetic, emotional rollercoaster. You don’t have to be a die-hard football fan to appreciate this engaging story, although the audience on this night was as enthusiastic as a capacity crowd of Koppites!

At times, the constant action and large cast can be a little overpowering, but strong performances keep the narrative clear. Les Dennis is excellent as Liverpool chairman Tom Williams, who recruited Shankly from Huddersfield Town. Oliver Mawdsley (Emlyn Hughes), Liam Powell-Berry (Ron Yeats), and Matthew Devlin (Kevin Keegan, albeit in an amusingly distracting wig) provide memorable supporting roles. Dickon Tyrell offers steady support as Bob Paisley, while Paul Duckworth delights in dual roles as broadcaster Roy Plomley and the outspoken Brian Clough.

In one very funny scene Ian St John, played by George Jones, had a rather intimate injury photographed as evidence of the reason he’d retaliated against an opposition player. However, it transpired that the evidence might have been “tampered with” to help St John avoid suspension. Shankley’s advice was: “Next time, get your retaliation in first, lad”!

Allison McKenzie as Shankly’s devoted wife Ness and Gordon Kennedy as a spectral Matt Busby provide depth to the story, serving as voices of reason and inspiration for Shankly’s unwavering vision.

In the second half of the show, the mood becomes more poignant, as it deals with the time after Shankley’s retirement, his reluctance to let go, and his untimely demise.

And it has to be said, there were not many dry eyes in the house when the stage erupted with fifty-two voices belting out “You’ll Never Walk Alone”.

Designer Max Jones wisely opts for simplicity, with a minimalistic, earthy set representing everything from boardroom to boot room. It works beautifully, allowing the actors’ performances to shine.

Ultimately, Red or Dead succeeds as a heartfelt tribute to Shankly’s legacy, led by Mullan’s compelling performance. At the final curtain, the entire cast rightly shares the applause equally, reflecting Shankly’s core values of teamwork and solidarity, as the packed auditorium rose to its feet in appreciation. It was as if Kevin Keegan had just scored the winning goal in the 1974 FA Cup Final.

Red or Dead gets the full 5 STARS from me, which I have to admit, makes me living proof that you don’t need to be a huge footy fan to enjoy this fabulous play. Whether you are a Red, Blue, or indifferent, get along to the Royal Court before the end of its run on April 19^th. You really won’t regret it.

With a growing catalogue of Royal Court hits, Gerry Linford has firmly established himself as a master of Scouse comedy since debuting as a playwright in 2018. His latest play, The Peaceful Hour, is no exception—a fast-paced, laugh-out-loud farce packed with sharp wit, chaotic misunderstandings, and just the right amount of heart.

Inspired by the legendary Radio City late-night show hosted by Pete Price, the story is set in Kirkby in the late 1980s, where love, betrayal, and self-discovery collide in the most unexpected ways.

A Night of Chaos and Comedy

For a play called The Peaceful Hour, this was anything but peaceful.

The evening kicks off with a classic “love found” moment—Julie, a lively Scouse girl, and Tim, a posh lad from the Cotswolds, meet in a club and wind up back at her place. Played with fantastic chemistry by Ellie Clayton and Jack Whittle, their culture clash sets the tone for the madcap events that follow. But just as things start to heat up, in walks Julie’s actual boyfriend, Tommy—played by Michael Hawkins, who delivers a hilariously explosive performance.

His slow-burn realisation, escalating into full-blown fury, is comedy gold. And just when you think you know where it’s going, the script takes a brilliantly unexpected turn—Tommy’s not just dropping by. He’s here because he had sent a request to Pete Price to propose to Julie live on air.

A standout moment comes when Tommy, an archetype scally street fighter, launches an attack on the well-spoken Tim—only to discover that his posh rival has some serious self-defence skills.

The result? A comedy fight sequence that has the audience howling with laughter.

Farce Meets Heartfelt Moments

While The Peaceful Hour is rooted in classic theatrical farce, the second half takes on a more poignant tone as relationships shift and unexpected alliances emerge.

Beneath the slapstick and sharp one-liners, Linford introduces depth and tenderness, making the audience invest in the characters beyond the laughs.

Meanwhile, another love story unfolds between Julie’s sister, Ange, and Carl, played by Royal Court favourites Angela Simms and Lenny Wood, all under the watchful eye of the girls’ mother, Edna (Julie Glover).

A Cast That Delivers

Under the expert direction of Emma Bird, the entire cast brings Linford’s script to life with flawless comedic timing. Every character feels authentic, relatable, and riotously funny, making it clear why the Royal Court audiences love this style of homegrown comedy.

Final Verdict: A Must-See at the Royal Court

From side-splitting one-liners to physical comedy that had the audience in stitches, The Peaceful Hour is a triumph of Scouse theatre.

⭐️⭐️⭐️⭐️⭐️ FIVE STARS!

Playing until March 8th, this is one unmissable night of laughter. Get your tickets while you can, and prepare for a night of comedy, chaos, and Scouse wit at its finest!

Traditional pantomimes often feature subtle double entendres and innuendos, cleverly directed over the heads of younger audience members to amuse the adults. However, a Royal Court Christmas show is anything but subtle. Loosely rooted in the panto genre, “The Scouse Red Riding Hood” unapologetically targets an exclusively adult audience, as emphasized in its tagline: “defo not for kids.”

While most pantomimes take creative liberties, they usually retain a semblance of the original story. At the Royal Court, however, the plot veers wildly off course. Writer Kevin Fearon and director, Mark Chatterton, break free of convention, taking the audience on a whirlwind adventure that includes references to Goldilocks, Bob the Builder, and even The Clangers. The wolf transforms into a werewolf, and characters played by Lindzi Germain and Lian Tobin find themselves in costumes more fitting for the Rocky Horror Show.

The story centres on Grandma’s house, nestled in a forest near “Lidlpool,” where she faces the scheming of property developers Cash and Carry, hilariously portrayed by Andrew Schofield and Keddy Sutton.

Schofield’s impeccable comedic timing and colourful language, paired with Sutton’s eccentric antics, keep the audience laughing uproariously.

Red, played by Lidia Rosa Morales Scully, and Blue, played by Adam McCoy, undertake a wild journey—literally to the Moon—to save Grandma’s house. The casting of these two characters as “Red” and “Blue” was a clever nod to the football rivalry that divides Liverpool, an irony not lost on the audience.

The production brims with energy, especially during the musical numbers, where the cast’s stunning vocals invite the audience to join in with a host of iconic songs like “Rocket Man,” “500 Miles,” and “Don’t Stop Me Now.” The talented Royal Court band—Bouncing Ben Gladwin, Jack Hymers, Greg Joy, Chris Nicholls, and Mike Woodvine—added to the show’s dynamic atmosphere, performing onstage throughout, rather than being confined to an orchestra pit.

Making her Royal Court debut, Chantel Cole shines as the “Stage Manager.” Although her character grapples with a series of comic misfortunes and a lack of lines, she delivers a show-stopping solo performance of Whitney Houston’s “One Moment in Time.”

The set design was one of the finest I have seen on this lovely old theatre’s revolving stage. With the additional help of ingeniously constructed folding flats, the action was able to move swiftly between the forest, the interior and exterior of the house, and the surface of the Moon.

“The Scouse Red Riding Hood” is wonderfully silly, magically musical, and full of fun. It gets a full Five Stars from me. And what a fantastic way to usher in the festive season, particularly when paired with the theatre’s unique dining experience, where meals are served at your table in the stalls.

If you haven’t secured your tickets yet, there’s still time if you’re quick, as the run has been extended until January 25th.