Jim Cartwright’s TWO has 14 characters and two actors, one male and one female. It has a simple set, and very few props. This could be a recipe for disaster or a recipe for success, dependant on how well it is handled. Tyldesley Little Theatre took on this challenge, and my word, not only did they make this a recipe for success, but they also took the recipe and made it into what I can only describe as a Michelin star production, with outstanding performances and clear direction.

Set in a northern pub in the 1980’s, TLT’s set construction team provide a traditional pub setting, complete with bar, optics, tables and chairs. The two actors play the landlady and landlord, along with an array of characters, the pub regulars, who call into the pub throughout the day.

Cathryn Hughes presents a tour de force of characterisation as she takes on this mammoth role. As landlady she is witty, caring, strong and emotional. As the old lady she is in comedic heaven, with clear delivery and a sustained ‘stoop’ as she drags along her shopping trolly. Maudie provides an opportunity for Cathryn to display her ability to deliver a convincing Liverpudlian accent, whilst Mrs Iger was definitely a ‘big’ performance, allowing Cathryn to keep a running theme side-creasingly funny each time it was repeated. We all now know she prefers big strong men! A round of applause after the opening paragraphs of this scene was very well deserved.

By sheer contrast, Cathryn’s Lesley was endearing. The fear of her partner was clear to see, and as she stood up to him, she was never going to have the last word. A great performance. Moving on to Alice, this was just funny. Reminiscent of a Hylda Baker sketch, every ounce of character was in place which led to consistent laughter throughout. Concluding Cathryn’s characters, The Woman was played with just the right amount of assumed anonymity, as we all know she wanted to be seen.

With all the above, Cathryn presented a masterclass in character interpretation, physicality, facial expression and precise comedy timing, which worked so well.

Nicholas Worthington was equally brilliant. His landlord was on point. Moth was convincing as he reeled us in to liking this loveable character who tries all ways to get Maude to buy him a drink, and although she refuses, she always eventually gives in. A character change as Nicholas plays an old man, setting off tones of sympathetic support from the audience for this poor soul as he reminisces about his dearly departed late wife. Mr Iger allows Nicholas to portray the downtrodden husband whose intermittent outburst of strength are soon weakened by his wife’s put downs, but he still tries his luck, asking, can we share a bed tonight, although he does not get the answer he hopes. Nicholas is a brilliant stooge to Mrs Iger’s big character, giving us some great double takes and expressions. Fred brings Nicholas the opportunity to become quiet and withdrawn as Alice confirms their uncomplicated love. In contrast, the character of Roy demands the actor to be strong, domineering and down-right nasty, and this is what we got from Nicholas. A convincing portrayal of this violent and jealous man who has no qualms when it comes to striking a woman. Completing this list of characters, The Boy was a cute little cameo type role which was done well. Nicholas showed he can take on a character and make it real.

With all the above said, in terms of the individual performances of these two fine actors, the icing on the cake is when they worked together. Landlady and landlord, Moth and Maudie, Mr and Mrs Iger, Alice and Fred, Lesley and Roy. The teamwork was evident, the understanding of each other’s stagecraft was there in abundance, and moreover, their ability to respect each other in performance was pure genius. These two worked their socks off from start to finish and the result was an impeccable production with TWO equally stunning performances.

Director Cameron Rowe has excelled here. Research into the play, author, and characters is clearly evident, and an eye for detail, especially as all the pouring and drinking of drinks was in the form of mime, and an excellent use of the set ensured the interpretation and technique of this production was polished and very well-rehearsed – Congratulations.

Thank you for your hospitality.

Paul Cohen – BATS