The Royal Exchange, Manchester is home to the new production of David Eldridge’s romantic comedy, Beginning. The National Theatre play, previously set in London, has been reworked for a North West audience with lots of Mancunian nuances embedded into the script.

Directed by Bryony Shanahan, the piece centres around Laura (Erin Shanagher) who hosts a house warming and Danny (Gerard Kearns) is the last person remaining at the party. He was due to leave with his friend but didn’t, much to the delight of Laura. She is intent on taking things further after she has been eyeing him up all night. Danny is oblivious to this as he has no ‘radar’ and the fact they have literally just met. In the post party chaos, together they navigate their past, present and future.

Night turns to day in this 1 hour 50 minute single act with both actors remaining on stage throughout its entirety. Unlike plays where we pass through time, we follow Laura and Danny in real-time which leads to a comedic evening with deep meaningful themes. Erin’s interpretation of Laura, the successful business woman who is showing off her brand new one bedroom flat is in contrast to Gerard’s depiction of Danny who is just happy to be there and can’t understand what she would see in him. Both characters, at times, find difficulties articulating their emotions to one another due to their middle age social awkwardness, however the rapport between both actors is effortless and dynamic.

The Exchange hosts its theatre in the round and Beginning excels in this space. The intimacy of the piece in which every audience member can see each facial expression, like a fly on the wall, adds believability to the characters’ narrative. Audiences are sat on sofas located on every side of stage as-well as 360 degrees around and above, ensuring you feel like you are in the flat with the characters. This must feel exposing for the actors as they have nowhere to hide which is further testament to this dynamic piece of theatre.

Designing a set that fits on a heptagonal stage in the round isn’t an easy feat, however Laura’s naturalistic flat designed by TK Hay, guarantees each audience member a clear view of Laura and Danny’s back and forth on stage. Whether we are looking into the unglamorous contents of her fridge or an actual fish finger sandwich being prepared on stage, each aspect of the set invokes realism and as an audience, adds another layer of depth and believability into the story.

Whilst the there are no set changes, both actors work the space naturally, moving from the kitchen unit seamlessly to the living room. Actors use larger than life movement so that every audience member can follow even with their backs towards us. With a lack of set changes, one may think it could lack interest or the ability to keep the audience hooked throughout the play. We feel we are almost a guest at the party and prying on these two intricate beings. The comedy one liners such as ‘My nan isn’t a racist she’s a member of the Labour Party’ or references to pop culture such as ‘the eccentric friend that thinks she’s Paloma Faith’ keep the play playful and fun.

The space is tarmac’ed and adorned with a large living room lamp as-well as two lampposts. The space is inspired by Altrincham and Chorlton, and symbolises reflection and travelling between destinations as both characters display a lack of direction in their lives.

Zoe Spurr’s lighting evokes togetherness within Laura’s flat. Subtle that the audience would barely notice as so enthralled in the piece, the street lightning dims during moments tackling loneliness, first dates, love, intimacy and forgiveness, and turns bright and bold during physical comedy scenes such as their first dance.

Long pauses are used to great effect, if not a little too often, in the play and break up the constant conversation between the two, giving the actors chance to display other tools in their repertoire. During the clean up after the party, Laura and Danny use no dialogue for a lengthy period of time. They have the audience laughing uncontrollably due to their physical comedy traits such as Danny dropping his can of lager attempting to impress Laura, then the aftermath of the mess that accompanies the mishap. A moment of poignancy is when Danny reveals he has a daughter and the long silent pause leaves the audience wondering why he doesn’t want to talk about it and what happened. Both actors merely stare at each other and the theatre’s silence is tangible.

Bryony Shanahan has directed a simply staged yet captivating production which delves into the lives of two complex characters. This funny, intimate play will have you ponder about taking risks and potential new beginnings.

**** Four stars

Reviewed by: Jordan Potts

Beginning plays at the Royal Exchange Theatre until 11 March, with further information here.