In 1994 the play was produced by Out of Joint theatre and directed by Max Stafford-Clark. The production toured the UK and performed at the Leicester Haymarket and the Royal Court. I'v been putting off reading this for ages, it's been almost 2 years since I saw it. I think it's because I knew I'd have a really complicated relationship with it - and surprise surprise, I do!

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Road has enabled director Nathan Chapman to showcase the wide variety and wealth of talent this company possesses and the cast of over 20 were outstanding. Demonstrating some very sharp characterisation, many as monologues interspersed with humorous mini sketches. Pre show and interval activity made full use of this large cast. The Rise and Fall of Little Voice - Winner of: Evening Standard Award for Best Comedy of the Year; Laurence Olivier Award for Best Comedy directed by Sam Mendes.

Road' explores the lives of the people who live in an un-named road, in a deprived, working class area of Lancashire during the Thatcher government - a time of high unemployment in the north of England. The action takes place over the course of one evening as the residents of the road prepare to go out, follows them at the club they go to and then on home afterwards. Despite its explicit nature, it was considered extremely effective in portraying the desperation of people's lives at this time, as well as containing a great deal of humour. A passionate, poetic and positive portrayal of working class life it is often performed on a promenade, allowing the audience to follow the narrator (Scullery) along the road and visit different sets and the different homes of the characters. Among the old-timers, Peter Corrigan, David Penrose, Sally Hartley and Peter Woodward impress, while Ingrid Corrigan impresses and amuses mightily as the neighbourhood mad old bag. One always has faith in actors of this standing and here that faith is not betrayed. Tiffany’s production highlights the play’s poetic lyricism in several ways: Scullery does a pas de deux with a shopping trolley to the sounds of Swan Lake, and the whole cast also engage in a climactic ritual that hints at the human potential for happiness.It has been a thoroughly enjoyable eight weeks working with a fine group of actors who have thrown their talent and enthusiasm behind the production, and I would like to thank them and all the people who have worked tirelessly behind the scenes to make this performance possible.

Find sources: "Road"play– news · newspapers · books · scholar · JSTOR ( March 2010) ( Learn how and when to remove this template message) Two - Octagon. Young Vic Theatre. Winner of: Manchester Evening News Theatre Award for Best New Play. directed by Andy Hay The play explores the lives of the people in a deprived, working class area of Lancashire during the government of Margaret Thatcher, a time of high unemployment in the north of England. Despite its explicit nature, it was considered extremely effective in portraying the desperation of people's lives at this time, as well as containing a great deal of humour. Set on a road on a busy night, the audience delve into the houses on the street and the characters' lives.

Those people are poorer now,” says Tiffany, “and austerity has really started to dissolve the structure of civic life as we know it.” One of the most powerful things about Road, says Dudgeon, is that “it shows ordinary, struggling working-class characters and makes them into heroes”. Now, even more so than when the play was written, it’s rare to see honest yet positive portrayals of working-class life. Eight Miles High - Octagon * 1994 & 1995 Bristol Theatre Royal Nominated for Theatre Management Association Best Musical Award. directed by Andy Hay Road was an instant classic because of the way its kaleidoscopic form allowed for short, sharp insights into the lives of the working classes in the latter days of the Thatcher premiership. It famously took over the Royal Court theatre, ran a disco, transformed the bar into a Lancashire pub, took the audience directly into these people's homes. It's less confrontational now, less intimate. The way it represents these people feels old-fashioned - though it didn't feel like that in the flesh, it's a weird thing. And not all of it works, because it's so episodic some of it can't quite hold the momentum.

Society was being unravelled’ … Pontypridd in Wales during the miners’ strike. Photograph: Sipa Press / Rex

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It’s talked of with such fondness’ … Shane Zaza and John Tiffany during rehearsals. Photograph: Johan Persson Sharp describes the writing of Road in 1986 as “an urgent response to the society that was being unravelled and reimagined under our noses”. More than 30 years later, it still has a sense of urgency. “It’s nostalgic while being prophetic,” says Tiffany, observing how the drama both looks to the past and anticipates the widening gap between rich and poor. His production, he hopes, will demonstrate how relevant – politically and artistically – Road remains. “It’s another chance to explore the play and to see its place in theatre history, and how much it still says about now.” Some of the events in 'Road' can leave the play open to accusations that it is depressing - certainly we see on various occasions humanity at its lowest points. Indeed some characters express a distinctly pessimistic outlook, perhaps most succinctly put when Scullery says "And just remember folks, if God did make them little green apples, he also made snot". But for me the lingering message is one of optimism. As the four youngsters, at the play's climax, purge themselves of their fears concerns and disappointments, they provide for us a glimpse of hope, their message of escape unequivocal.