Times have changed since Marriott Edgar described Blackpool as notable for fresh air and fun. The popularity of budget flights and decades of austerity have resulted in the resort having higher crime rates and worse health and economic outcomes than their inland neighbours in the UK. Small wonder the alienated residents voted for Brexit by two to one.
Such a tawdry background suits the mood of Billy (sole performer Mark Newsome, whose life story inspired the play) who has very low self-esteem and is isolated from family and friends. Rejected by his family (particularly a homophobic grandfather) when his sexuality became apparent, Billy also feels uncomfortable in the gay community, believing he does not conform to the body image expected of a gay person. His neediness is a deterrent to potential friends, and his defensiveness results in him declining friendships before others can reject him. Alone in Blackpool and sunk in self-pity, Billy is forced to consider whether he wants to go on living.
Phil Pearson, author of Blackpool, What a Shit Place To Die, enjoys exaggerating, for comic effect, the lifestyles of the underclass. The opening speech positively celebrates the seedier side of Blackpool—Disneyland on Drugs—highlighting gym-slip mothers and syringes in the sea. Oldham, Billy's hometown, is said to offer only two social activities, drinking and having a haircut, and it is sometimes possible to do both at the same time. As a child, Billy was considered a local celebrity, having won a talent competition, and invited to officially open a chip shop. Typical of his background, Billy is outed in a budget-priced supermarket rather than a more dignified setting.
Despite the humour, the script does not hide from the darker side of Billy’s difficulties. Mark Newsome’s tour-de-force performance is unrelenting in showing the impact of Billy’s self-inflicted problems. It is just as well Newsome draws out Billy’s vulnerability, with memories of happier times with his grandfather, as his outward personality is far from appealing. Heavily dependent upon intoxicants and with an overbearing approach, Billy is likely to make potential acquaintances avoid him in a social situation.
Although Blackpool, What a Shit Place To Die is a monologue, director Nick Bagnall creates a lively, actually action-packed production. Mark Newsome rarely stands still, jumping from a karaoke impression of Tom Jones to bouncing around a disco. The growing impact of drugs in Billy’s system is captured with the stage lighting growing gradually darker, enclosing Newsome who, zombie-like, can barely move. Bagnall’s approach certainly holds the attention, but more importantly adds to the sense Billy is so desperate to escape his problems, he cannot stand still—running from his difficulties, and indeed from himself.
A witty script and a scorching performance make Blackpool, What a Shit Place To Die a powerful experience.