Three plays for the price of one, now that’s a deal no theatre fan can resist!
This week at The Basement, City Screen, Perri Ann Barley returns to the stage in collaboration with Here’s Tae Us Theatre, to bring audiences a trio of short productions that together made for an evening of theatrical pick-and-mix.
Comedy, mystery, domestic squabbles, and even a jumble sale gone rogue, this was a showcase designed to prove there’s something for everyone.
A Night of Three Plays is at The Basement, City Screen, from Thursday 28 to Saturday 30 August.
The Basement itself provides a cosy hidden treasure beneath the popular cinema, tailor-made for nights like this. With just eight actors, many of them drawn from Barley’s own Blue Light Theatre Company, the plays were delivered with wit, energy, and a good dose of charm. Each actor was given the chance to shine in multiple guises, demonstrating their talent but sheer versatility.
The first play, Locked Down, swept us into the bustling Café Lumiere Blue, where the intimate atmosphere was immediately engaging. We encountered three very different pairings under the watchful eye of two waitresses who were far more meddlesome than professional. Here we witnessed a welcome return to the stage for audience favourites Bill and Doris, once again portrayed by Richard Rogers and Brenda Riley. Their familiar routine of affectionate sniping and razor-sharp one-liners was an instant hit. Riley’s dry wit paired with Rogers’ comic precision made them, as ever, a comic force to be reckoned with.
But Bill and Doris weren’t the only ones struggling to keep the peace. Perri Ann and Craig Barley, swapping their real-life happily ever after for onstage turmoil, played the engaged Tracy and Scott, a couple with secrets bubbling under the surface. Their squabbles, interruptions, and sideways glances soon had the fellow customers and audience invested, and an unexpected lockdown soon turned the whole café on its head, only adding to the chaos.
Kristian Barley added a gentle humour as Ralph our Actor, while Audra Bryan burst into the café with an entrance so eccentric it was impossible to ignore. With its quick-fire dialogue and snappy exchanges, this opening play set the evening off to a flying start, each quip landing perfectly and every character bouncing beautifully off the next.
From laughter to suspense, the mood soon shifted dramatically in the second play, plunging us into something darker and far more unsettling atmosphere. Sisters Cassie and Sammi, (Courtney Jo Batey and Shannon Bourne), soon find their evening out derailed by the arrival of a mysterious parcel. What began as teasing between siblings quickly soured into suspicion and unease. The atmosphere thickened with every line, Batey’s ex-officer haunted by her past and Bourne balancing her nerves and determination with real conviction.
When Perri Ann Barley appeared as DI Stratton, it seemed answers might finally be at hand, but the story cleverly refused to tie itself up neatly, offering further welcome mystery with each twist and turn. Miami Blue was proof that Barley’s writing doesn’t just sparkle in comedy; she can conjure gasps, jumps, and nervous glances just as effectively.
The final play, JumblEh-Up!, immersed us back into what felt like a familiar sit-com territory, whisking us off to a village jumble sale in glorious disarray. Once more Bill and Doris made their appearance, much to the audience’s delight, surrounded by a colourful array of locals with more interest in gossip and one-upmanship than in selling second-hand bric-a-brac.
Among them were Craig and Perri Ann Barley, this time with a much more regal approach as we meet David, a knowledgeable book enthusiast, and Colleen, the Mayoress determined to keep her jumble sale running like clockwork. Shannon Bourne shone again as Lavina, Colleen’s troublesome daughter, ensuring that nothing in the village hall ever ran smoothly. One particular highlight was Colleen’s rapid-fire retelling of the latest village gossip, sharp and wonderfully silly, leaving Tom Jones tribute acts across Yorkshire nervously checking over their shoulders.
What makes this night of theatre work so well is Barley’s writing, which consistently balances humour with heart and has a keen eye for detail. Little callbacks and full-circle moments ripple across the plays, rewarding audiences who pay close attention. Though the set was kept simple, as is often the case for such a sharing, it enabled the actors to shine. Clever lighting enabled smooth transitions, and Kalayna Barley’s sound management added just the right level of atmosphere.
A special shoutout must be given to the team at City Screen, Perri Ann Barley highlighted the value of their support throughout, I can only hope this partnership returns in the future.
One departing audience member described the event as ‘our own miniature fringe festival’, and it’s hard to think of a better summary. Each play pulled us perfectly into a new world, where we became invested in each story, before being carried swiftly into the next.
This format has huge potential, and it would be a joy to see more offerings of this kind in the future; both from Barley’s troupe and from this wonderful little venue. For now, there’s just one final performance left, so don’t miss your chance, book here to avoid disappointment.
A Night of Three Plays finishes at The Basement tonight (Saturday 30 August). Tickets start from £16.25.