Reviews

Daytona (Mold)

Richard Woodward is impressed by the versatility of Maureen Lipman in Daytona.

Clwyd Theatr Cymru

We are in the late twentieth century but events further back will resurface to propel this story forward. The setting is an apartment in New York where we meet Joe and Elli practising for their next ballroom dancing competition. They have been together for nearly fifty years and despite the ups and downs it appears they still love one another.

What seems to be heading in the direction of a warm-hearted comedy changes track when Joe’s long–lost brother turns up out of the blue. What he has to say will alter their lives in ways they could never imagine. And the next twenty four hours prove to be for them a rollercoaster ride of changing emotions.

It would not be fair to reveal the story Billy has to tell but Oliver Cotton has written a fascinating and absorbing play in which the past catches up with the present.

Cotton, who is also an actor, has written three juicy parts for his cast and they seize them with relish and give spellbinding performances. They hold the audience in the palms of their hands as we collectively and breathlessly hang on every word and you can tell the total absorption in the story as key moments elicit ‘oohs and ahs’.

Maureen Lipman gives one of her best performances. She is both funny and poignant and always so real. John Bowe has tremendous life and vigour as the brother returned and Harry Shearer, in probably the least rewarding role (it would be good to hear more of his back story) creates a very human figure.

David Grindley’s direction is beautifully orchestrated knowing when to go full throttle and when to let moments of silence reveal so much.

It is an unusual play about love and hate, betrayal and trust, revenge and letting sleeping dogs lie. It constantly surprises but it certainly grips.

– Richard Woodward