Review: Bump(s) at 53Two is ‘heartfelt and humorous, exploring love, loss and family’

Theatre trips can often be pricey, but at Christmas, venues pull out all the stops to create shows that draw in families and groups.

At 53two, they’ve made a tradition of offering musicals, teaming up with composer and songwriter Ollie Mills to craft unforgettable tunes—while keeping tickets affordable for everyone.

Last year the show Bear Left, set in the fictional place of Pinkerford had the feel of Come from Away, as a group of strangers found themselves stranded at a service station over the festive period.

Bump(s) at 53Two

This Christmas, we return to Pinkerford to spend time with teenager Jessie (Beth Lily-Banks) who is struggling with the loss of her mum. It has left her with a huge gap in her life, as she goes through adolescence and beyond.

She ‘visits’ mum via her bench and tells her what she is up to? But there are no answers to those difficult questions.

Her step mother Janine (Morag Peaccock) tries to guide her but has no self confidence in her ability to be a mum. When we revisit the two many years later, they meet for a coffee to give each other some news. They are both expecting at the same time. How will they react? Comedy and drama ensues, as the two women navigate their pregnancies and share their hopes and fears.

Writing by Megan Hickie

Bump(s) began life as a short play written by Megan Hickie and it was incredibly immediate and (ahem) delivered laughter and poignant moments at speed. Working as a team with Ollie Mills and director Simon Naylor, this expanded musical version feels like a prequel and sequel but you do not need to be familiar with the original. It works for both newcomers and fans of the original.

One of the joys of the piece is the fact that these characters feel rooted in reality. Jessie’s grief and confusion at how to make big life decisions without the guidance of her mum, mirrored with Janine’s lack of self belief when it comes to her parenting skills works wonderfully well. As this is what links these two lost souls. Both Beth Lily Banks and Morag Peacock convey these vulnerabilities and outward confidence to put on a show, with ease.

Andrew Tuton is excellent as Jessie’s dad, who loves his daughter but is also secretly missing her mum. Through song, Ollie Mills enables him to convey this inner frustration and deep sense of loss.

Elliot Parchment-Morrison

Elliot Parchment-Morrison is delightful as awkward but loving former boyfriend/best friend. Always there to support Jessie, he waits in the wings wearing his bicycle helmet, and stood holding a supermarket carrier bag filled with useful goods, like a young Roy Cropper.

Musician, actor and tech extraordinaire George Miller sends up his own persona as pretentious part time musician and full time dickwad. He is clearly only the creative part of this description so it is wonderful to see him immersed in his character’s huge ego. And his comic timing is everything.

Renee C-Williams and Dan Sheader offer far more than simply support, as they bring backing vocals, comedic moments and an ability to play a variety of characters, and play a pivotal part in changing the locations. They are both bring an ensemble feel to the piece, even though they are only two of them.

The first half of the show is quite episodic, as we spend a great deal of time trying to get to the revelation of the piece. What does lift this though, are scenes where Jessie talks to her mum. Beth Lily Banks brings so much to these short scenes, and you long for more emotional connection to the material.

The huge ensemble of Bear Left is missed slightly, as it does give that Christmassy feel of community and the setting of Pinkerford this time round is not really needed. As it could be set anywhere, and Manchester would do nicely, to give it that local feel.

Then, something magical happens, as your Christmas wish list materialises in act two. The cast step it up, and as the plot progresses the writing has depth and breadth, the songs begin to take hold and because the characters are older and wiser, you begin to feel connected and by the end of the show, it feels like you have known them for years.

“Fake it to make it”

Megan Hickie’s book has maturity, lived experience and an inner beauty, as we can all lack the confidence the get through each day and we all ‘fake it to make it’ if we could only admit it. And this is where the show excels when it comes to the central relationships. It is about the love you feel from others, and it does not always have to be from blood relatives. A perfect message for anyone who struggles with the ‘Kodak moment’ pressure of the festive season and a desire for it all to be perfect. The show;s central message, is that we all get it wrong sometimes, and that’s okay.

Ollie Mills’ songs have the power to move you. I wish they were a tad longer, as there are moments when you begin to hum them and then they are gone by 10am, like your newly unwrapped Christmas presents.

Simon Naylor’s production becomes a tight and perfectly formed show by the time of the second act, and you realise this show could be staged at any time of the year. It has a Christmas setting but the themes are universal and not linked the seasons.

If you are longing for an alternative to a panto and want a show which will warm your heart like a cup of mulled wine, then Bump(s) really does deliver.

Tickets for Bump(s) at 53Two

Bump(s) is at 53two until 23^rd December and tickets are priced £13, with pay what you can tickets available at all performances. You can book tickets here