Ian Cheeseman experiences two powerful nights of theatre at Manchester’s Royal Exchange and Bolton’s Octagon, where performances in the round bring emotional depth, tension and authenticity to two very different productions.
A traditional theatre has stalls, a circle and perhaps even a grand circle, with the audience sitting at varying distances from the stage depending on how much they paid for their seats. There’s nothing wrong with that system — I’ve spent many happy hours watching my favourite musicals from a variety of those vantage points. Live theatre is unbeatable.
Over the past few days, I’ve seen plays at two of my favourite venues: Manchester’s Royal Exchange and Bolton’s Octagon. Both theatres seat the audience very close to the action in the round, meaning no one is more than a few feet from the actors, with seats on every side. This format demands that the director and cast remain acutely aware of their positioning so that audience members aren’t constantly looking at their backs.
The first of my duo of plays was Dancing at Lughnasa at the Royal Exchange, set in 1930s Ireland. It tells the story of five unmarried sisters, as narrated by the grown-up son of one of them. The play unfolds over a single summer, offering a poignant insight into the women’s daily lives and the tragedies they would later endure. It was both heartfelt and deeply moving.
The five sisters were beautifully acted, and the production was perfectly cast — each character expertly drawn and entirely believable. It felt as though we were truly part of their world, and the intimacy of the venue helped create an atmosphere that might not have been achievable in a larger, more conventional theatre.
The following evening brought a striking contrast with Alan Ayckbourn’s Snake in the Grass at the Octagon — a murder thriller perfectly timed for the Halloween season. Equally intimate but far darker in tone, it used the proximity of the audience to heighten tension and amplify the jump scares. During the quieter, more intense second act, the story became increasingly gripping, aided by some clever and effective lighting design.
Both shows were captivating and thought-provoking in very different ways, and both benefitted immensely from being staged in the round.
The five sisters in Dancing at Lughnasa — played by Martha Dunlea, Rachel O’Connell, Siobhan O’Kelly, Laura Pyper and Natalie Radmall-Quirke — were exceptional. Meanwhile, Sue Cleaver and Nicola Stephenson delivered class and power as Annabel and Miriam in Snake in the Grass, guiding us through Ayckbourn’s razor-sharp script with confidence. Special mention goes to Dena Davies, who stepped in as Alice with script in hand following the late withdrawal of Lisa Zahra, and rose to the challenge brilliantly.
If you’ve never seen a play at the Royal Exchange or the Octagon — or any other venue that performs in the round — do it soon. You won’t regret it.
Dancing at Lughnasa runs until 8 November, and Snake in the Grass until 25 October.