A new play bursting with Geordie spirit and working-class struggle has made its way from a tiny social club in the North East to the bright lights of London's West End. Jamie Eastlake's "Gerry & Sewell" opened at the Aldwych Theatre, where it will run until 24 January.
From Tyneside to the West End: A Football Fan's Quest
Adapted from Jonathan Tulloch's award-winning 2000 novel The Season Ticket – later filmed as Purely Belter – the story follows two disenfranchised young friends from Gateshead. Gerry (Dean Logan) and Sewell (Jack Robertson) are on a picaresque, often desperate mission to scrape together enough money for a coveted Newcastle United season ticket.
Their schemes, which range from scavenging the banks of the Tyne to burglary, are set against a stark backdrop of regional decline. The narrative offers a damning commentary on political betrayal and drained resources in the North East, making Tulloch's story resonate powerfully in today's age of austerity.
A Mix of Song, Dance and Dark Family Drama
Eastlake, who also directs, ambitiously tries to capture the novel's tonal shifts between comedy and tragedy. The production incorporates song, dance, and spoken-word poetry alongside the central, gritty drama. The balaclava-clad ensemble delivers vibrant choreography by Lucy Marie Curry and Sean Moon.
While the play is full of heart and features powerful performances, the overall result is incohesive and messy. The script's various elements – from dark themes of domestic violence and sexual abuse to broad toilet humour and jokes about Sunderland FC – often pull in opposite directions.
Musical numbers, particularly those sung by Chelsea Halfpenny as Gerry's aspiring singer sister Claire, land well. However, other sudden breakouts into club beats and pop songs frequently halt the narrative flow, adding confusion rather than depth.
Moments of Brilliance Amidst Narrative Struggles
The second half delivers some isolated but potent family scenes. Erin Mullen, as Gerry's elusive sister Bridget, delivers a monologue with the raw power reminiscent of Gary Owen's Iphigenia in Splott. Yet, these heavier moments are diluted by extended comic diversions, including a subplot about an adopted dog.
Ultimately, the core season ticket storyline feels beached by the finale, and several basic plotlines remain frustratingly fuzzy. The play's attempt to force a feelgood tone sometimes undermines the darker, more compelling material at its core.
Despite its structural flaws, "Gerry & Sewell" possesses undeniable sparks of brilliance and a ton of soul. It represents a remarkable journey from a 60-seater venue in North Tyneside to a major London stage, bringing the vivid dialect and resilient hope of its characters to a wider audience.
