We are slap bang in the middle of the Manchester International Festival, 2 weeks which truly reflects the cultural diversity of Manchester, from De La Soul to Carlos Acosta. Perhaps one of the most understated additions to this line up is "Everyone's a winner" playing at The Royal Exchange until August. You don't naturally assume that bingo and theatre go hand in hand but as I sat down, with my dabber poised my heart began to beat that little bit harder with the prospect of winning £200. This very real game of bingo was juxtaposed with a tragic yet comical play of 20 people, and their struggles to survive on the bread line, a grim existence which consisted of bingo in the morning, bingo in the afternoon and bingo at night with the odd bowl of chips in the middle.
Audience participation is something I truly fear, the prospect of humiliation never far away however there was something less intimidating about “everyone’s a winner”. We were instantly and endearingly involved in people’s lives, feeling as though we were peering into every human emotion possible. It seemed that the plays biggest focus was atmosphere, a true sense of authenticity to play which as inescapable, whether this ranges from the broken seats or the banter that occurred between the bingo ladies.
Sally Lindsay’s performance was slightly disappointing; however this was due mainly to the fault of the writing with her character never fully being able to develop till the last five minutes. Yet it was Bingo caller “Frankie” who really stole the show. His personal development throughout the play really struck a chord reminding us constantly that life is like bingo. The recognition of his own unhappiness left the audience feeling awkward, a sense that perhaps we shouldn’t be the ones watching this subtle breakdown and its with creating this intimacy that the play truly succeeded.
Ultimately it became hard to avoid the bleak grimness that is hidden through the many songs and dances, a desperate longing for money, that “one last chance” of momentary happiness. Although I left feeling a little melancholy, I recognised that this play is truly affecting as a mirror to the working classes, a reflection of the human condition which is an admirable achievement for theatre.
H xx
Audience participation is something I truly fear, the prospect of humiliation never far away however there was something less intimidating about “everyone’s a winner”. We were instantly and endearingly involved in people’s lives, feeling as though we were peering into every human emotion possible. It seemed that the plays biggest focus was atmosphere, a true sense of authenticity to play which as inescapable, whether this ranges from the broken seats or the banter that occurred between the bingo ladies.
Sally Lindsay’s performance was slightly disappointing; however this was due mainly to the fault of the writing with her character never fully being able to develop till the last five minutes. Yet it was Bingo caller “Frankie” who really stole the show. His personal development throughout the play really struck a chord reminding us constantly that life is like bingo. The recognition of his own unhappiness left the audience feeling awkward, a sense that perhaps we shouldn’t be the ones watching this subtle breakdown and its with creating this intimacy that the play truly succeeded.
Ultimately it became hard to avoid the bleak grimness that is hidden through the many songs and dances, a desperate longing for money, that “one last chance” of momentary happiness. Although I left feeling a little melancholy, I recognised that this play is truly affecting as a mirror to the working classes, a reflection of the human condition which is an admirable achievement for theatre.
H xx
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