Back to all articles

The Revival ACT review

---

Last Post: Friday 9th May 2025

Returning to Rossendale for their latest production, The Revival, was an experience I eagerly anticipated – and it certainly didn’t disappoint. The Rossendale Players continue to impress with their unwavering commitment to quality theatre, evident not only in the calibre of their performances but also in the genuine hospitality and camaraderie shared among cast and crew. This particular production, set in 1946, was a cleverly layered “play within a play” that blended gothic suspense, subtle comedy, and rich characterisation to deliver a thoroughly captivating evening. Upon entering the theatre, the open stage immediately transported the audience to a mid-20th-century rehearsal room. The setting – a plush period interior featuring a working fireplace, rich velvet chairs, suspended lighting fixtures, and a classic drinks trolley – evoked a post-war atmosphere tinged with both elegance and mystery. The director’s choice to keep the set visible from the start created a sense of anticipation, immersing the audience into the play’s eerie and theatrical world even before the first line was spoken. The premise of The Revival revolves around a troupe of actors rehearsing a supernatural drama titled Scared to Death. As the cast prepares for their final dress rehearsal, strange and increasingly unsettling events begin to unfold. What starts as artistic tension between performers soon morphs into something darker, as past secrets and ominous warnings cast a shadow over the proceedings. The story cleverly blurs the boundaries between the characters’ real lives and their roles in the inner play, and this duality gave the cast plenty of opportunities to shine. Leading the charge was Connal O’Reilly, making his debut with the society in the role of Michael Prentice – the flamboyant and domineering director of Scared to Death. O’Reilly commanded the stage from the outset with a bold, confident presence. His projection was excellent, and he maintained an authoritative yet dramatically camp persona that struck the perfect balance between comedy and menace. His interactions with the rest of the cast showcased both a commanding leadership and petulant frustration, making his performance magnetic. Cassie Hardman took on the role of Sophie Essenheimer, the American actress playing Betsy in the inner play. Hardman nailed the contrast between her real-life character’s confident American accent and the exaggerated British accent she adopted for her inner role – an amusing and authentic touch that elicited plenty of laughs. Her performance was consistently engaging, as she delivered a ditsy charm that didn’t overshadow her precision or comic timing. Stephen Claxon portrayed Hugo Tilling-Hunt, who in turn played Timothy. Claxon was a joy to watch, his voice carried a warm huskiness, and his exaggerated hand gestures and lively energy lent the character a humorous and mischievous edge. He clearly had a deep understanding of his character’s nuances, delivering a performance that was both animated and grounded. Dawn Rowe, in the roles of Diana South and Zelda, provided one of the most commanding performances of the night. As Diana, she was bold and unfiltered, projecting strongly and drawing the audience in with her assertive presence. As Zelda, the medium in the inner play, she elevated her performance even further. Her accent and projection were spot on, and she infused Zelda with just the right mix of theatrical mysticism and credibility. Her stage presence was riveting. Will Curvis played Eddie Wilde and his on-stage counterpart Gerald with great comic flair. He infused the roles with subtly camp expressions and a relaxed physicality that suited the characters well. His comic timing and clear diction were noteworthy, though there’s an opportunity to push his expressiveness even further by adding deeper inflection to key lines for added emotional weight. As Clive Munro, the stage manager and technician of the inner play, Martyn Frost delivered an outstandingly authentic portrayal. His projection and diction were excellent, and he convincingly embodied the no-nonsense, experienced stagehand who tries to keep everything running smoothly amidst the chaos. His performance had an honesty that suggested real-life experience behind the scenes – he brought a much-needed grounding presence to the more eccentric characters around him. Steve Gill played Giles Heath, a smaller yet pivotal role. As a character who interrupts rehearsals with ominous warnings about the séance scene, Gill made a powerful impression. His energy and delivery brought urgency to the plot, and his confrontation with the director created a jarring moment of tension that left the audience questioning the boundaries between fact and fiction. His reactive acting and intensity made the scene truly memorable. Liz Wood completed the cast in the dual roles of Alison Woodley and Penelope. Her elegance and attention to physical detail, particularly in her posture and expressions, captured the essence of her upper-class character. The subtlety of her performance, combined with effective costuming and stage presence, made her a pleasure to watch. Speaking of costuming, the wardrobe team excelled in bringing 1940s flair to life. From rich velvet gowns and suede blazers to delicately sourced accessories like brooches, headpieces, and pearls, the attention to detail elevated the overall authenticity of the production. Each character’s outfit was carefully tailored to reflect their social standing and personality, which contributed to the immersive period setting. Technically, the production was polished and imaginative. The lighting design used a thoughtful mix of warm and cool tones to set the mood, while flickering lights and blackouts added layers of tension during scenes involving supernatural elements. One highlight was the séance scene, where a tight spotlight was used to brilliant effect, heightening the intensity and sense of isolation. The sound design was equally impressive, pre-recorded ghostly voices and eerie sound effects were seamlessly integrated into the narrative. In particular, the thunderstorm scene saw sound and lighting teams working in harmony to create both dramatic tension and unexpected moments of humour. A standout moment came when the double wooden doors on stage mysteriously opened by themselves, revealing a ghostly figure through a haze of smoke. It was a beautifully executed effect that stunned the audience and elevated the eerie atmosphere. I was fortunate enough to receive a backstage tour after the show, where I glimpsed how these stage illusions were pulled off, but I’ll keep those secrets under wraps to preserve the magic of the production. Perhaps most rewarding of all was seeing a full house for the performance, a testament to the dedication and talent of everyone involved. I sat next to an audience member who had returned after attending the previous production, a clear indicator of the company’s well-earned reputation for excellence. In summary, The Revival was a masterfully directed and executed production. Every scene was alive with activity, energy, and purpose. The audience was completely absorbed from start to finish, drawn in by strong performances, thoughtful direction, and a rich visual and auditory experience. The Rossendale Players have once again proven that amateur theatre, when fuelled by passion and precision, can rival any professional stage. Congratulations to the entire team on a hauntingly good show.