Liverpool Sound and Vision Rating 8.5/10

Cast: Jake Abrahams, Eithne Browne, Suzanne Collins, Michael Ledwich, Alan Stocks, Lenny Wood.

Confession and revelation is not confined to the unburdening of souls in the wooden box that adorns many a church, the simple act of sticking a paw out for a taxi when time, tide and the day is against you is perhaps arguably a more sincere way of getting the troubles of the soul purged, for the taxi driver hears all, sees all and unless you happen to become the topic of conversation which revolves around the words, “You’ll never guess who I had in the back of my cab last week”, then your secret torment, bad relationship, money troubles, who you would like to see bumped off, what you think of the council, all are kept secret.

One of Liverpool’s funniest plays has that in mind and it is a production that perhaps best reflects the relationship between taxi driving priest of the road and the confessional box that is the back seat upholstery; the Night Collar might be a bind but the stories of the night make the most fascinating tales.

It is the night before Christmas, the driver has to earn, has to ask private questions and sees all and they come no stranger than the folk who frequent the back of his cab as Furlong and Power’s Night Collar is unleashed once more on the Royal Court.

For Lenny Wood, Night Collar represents a true high as one of the most respected young actors around. Having spent so long learning the absolute point of comic timing and the gentle asides in the male company of Paul Duckworth, Paul Schofield and of course Alan Stocks but also one who has watched with keen interest and affection for the work of Keddy Sutton, Jamie Hampson and Gillian Hardie, it can hardly be a surprise that he bounces off so well almost everybody he comes into contact with, on stage and off. As Blind Les and the Naked Man, his timing was absolute, generous to each line and his interaction with Mr. Stocks was first rate. The act of the stammer in a performance can be one that grates on the back of those with that affliction and yet with great care to any sensibility, it was magnified but charming, comic potential driven so high that it could be admired.

For Alan Stocks, the lead role in a comedy of such local importance is one that has surely been coming and it was one that was met with assured composure and the genius of the sneering put down. There is almost no better sight in comedy that seeing the supposed little man fighting back with hang dog expression. It worked so well for Tony Hancock, it works marvellously for Alan Stocks.

Night Collar is essential theatre; it drives home the important point of interaction between audience and cast, of being almost as one in on the joke and in a city that has a different type of relationship with its taxi drivers, perhaps only bettered than those in London, compared to the rest of the country, it is a production that will drive you to a place where you least expected to go, but the fare and the conversation will be worth it.

It has to confessed, Night Collar is tremendous fun!

Ian D. Hall