The Epstein Theatre’s Masquerade had me reaching for the tissues.
The heartfelt tale of love and loss is based on the real-life experiences of Liverpool’s LGBTQ+ community who gathered at the now-demolished Cases Street venue affectionately known to many as The Mazzie.
The reimagined production, written by Birkenhead’s Laura Lees, follows the story of Mike - a charming and loveable character played by Jamie Peacock, who is torn between two conflicting worlds: the inclusive atmosphere of the Masquerade Club, where he later finds work as a DJ at and a belligerent society which forces him to hide his sexuality from his family.
READ MORE: Trans lives 'at risk' in Liverpool, say support group claims
Following a successful run at the Royal Court Studio in 2019, the acclaimed play with the city’s queer history at its heart returned to the Hanover Street theatre this week.
Despite the poignant tale transferring audience members back to 1980s Liverpool, it touches on hot topics such as homophobia, hate crimes and chosen family which makes it as relevant as ever. The time period was filled with turmoil for the LGBTQ+ community with the likes of the AIDS crisis and section 28 and this was conveyed effortlessly. It was abundantly clear writer Laura Lee knew her target audience as despite having dozens of Margaret Thatcher jokes, each one landed better than the last with the Scouse audience.
No play based around Liverpool’s vibrant LGBTQ+ community wouldn't be complete without a drag queen and Judy, brilliantly delivered by Michael Bailey, was the piece that brought the puzzle together. The humorous character was brought to life with seductive moves, suggestive winks and questionable pick-up lines, all cliches which worked in Michael’s favour.
The majority of Michael’s scenes took place inside the club, which used to be where Boots’ entrance now stands, and as someone who regularly attends the Pride Quarter in Liverpool, his performance made me feel right at home. This feeling was only amplified by the spectacular lighting choices and electrifying yet versatile soundtrack.
If act one was to make you fall in love with the characters, act two was to shatter your heart. The act opened with a scene, that many of the LGBTQ+ community today can still relate to, as the Masquerade club and its regulars were met with homophobia, violence, bigotry and hatred. The terrifying scene was made complete by a version of Simple Mind’s Don’t You Forget About Me which echoed throughout.
After dealing with that lump in my throat, the worst was still yet to come as the remainder of the play focused on Mike as he came to grips with his AIDS diagnosis. Jamie Peacock’s portrayal of someone whose life just flashed before their eyes was a lot more believable in comparison to the shy stereotype the audience was introduced to in the first half.
Although there were tears of sadness, there were also tears from laughter brought on by the overwhelming and energetic Tony, played by Joe Owen, and the larger-than-life Frank (Neil MacDonald). Switching between infectious comedy and poignancy, the two co-stars knew how to draw you in and take you on the journey with them.
Having said that, without a doubt the star of the show for me, was Catherine Rice. The Liverpool-based actress played three characters but it was her natural portrayal of Norma, The Masquerade’s barmaid who was never too far away from an alcoholic drink or a cigarette, that won over the audience.
The Scouse-nan character was one that even I, as someone who is Northern Irish, could not only appreciate but was left wanting more of. She had jokes in all the right places and if I had it my way, Catherine’s Norma would have her own reality series in the works by now.
Receive our weekly LGBTQIA+ newsletter by signing up here .
READ NEXT:
