Wayne Allsop

Highlights

• https://www.thefreelibrary.com/Preview%3b+DEV%27S+ARMY+Lantern+Theatre.-a0294344126
• The Fiction Stroker
  TV, Books and Live Event Reviews
  Hot Fat – LIVE!
  As part of Lassfest at award-winning Manchester pub, the Lass O’Gowrie, they have been having a tribute to the work on Jack Rosenthal in support of Myeloma UK. Last week they dramatised episodes of Coronation Street from 1968. This week, they’re tackling a long lost ‘Play for Today’ from 1974 called Hot Fat.
  
  Play for Today was a strand of single drama running on the BBC, at primetime, from 1970 to 1984. Some of it’s best remembered writers were famous before, and after in their own right, writers such as Dennis Potter (Blue Remembered Hills, Brimstone and Treacle), Mike Leigh (Abilgail’s Party) and indeed, Jack Rosenthal, contributed a variety of different scripts. Play for Today allowed for experimentation, and development of up and coming directors and writers whilst also allowing space for established writers to try out new things.
  
  Bringing theatre to television, many of Play for Today’s output has unfortunately been wiped – Hot Fat’s master tapes have been long since wiped making this a unique opportunity to catch this comedy-drama. Set in a men’s sauna and massage parlour, and with a cast of just five, it tells the story of friendships and deals made and broken over the course of one afternoon.
  
  I’m not going to describe the plot too much – to do so would give away the twists and turns a little too much, but suffice to say that the script is packed with witty little moments – moments that fly past so fast and so frequent, you may chance yourself smirking at something that happened a few moments previously. The characters run with the story – not much necessarily happens, but their relationships with each other are captivating enough to more than hold your attention as events collapse, layer by layer.
  
  The cast are all excellent in their roles, Sean Mason perfectly pitching the bumbling Tort, Wayne Allsop as the frequently exasperated Mr. Holland, Phil Dennison giving a extraordinarily enigmatic turn as and Mr. Pate, Emma Laidlaw as Mrs. Lane frantically trying to hold the sauna together and Rachael McGuinness as the dreamy Sharon. Tightly directed by David Macreedy, and putting the audience in the thick of the action (something the Lass is capitalising on recently..!) with the set design nicely making you feel like you are in the claustrophobic heat of the sauna.
  
  Critics look back on Play for Today as a ‘golden age’ for television – it can be no doubt that there aren’t dramas made like Hot Fat nowadays – character driven rather than plot-driven, it remains a fine example of what was typical television output for BBC. Regretfully, it is more the politically or socially aware plays that are remembered than gems like this. Both myself and a friend who went to see the play came out wanting more. The revived Hot Fat definitely stands as an example of why Britain was producing the best entertainment through the sixties and seventies.
  
  Hot Fat can be seen from Wednesday 18 January to Friday 20 January at the Lass O’Gowrie. Tickets available from www.lassfest.co.uk or on the door if not sold out. Performances are in support of Myemola UK.
• DEV'S ARMY,
  AWARD WINNING 1 ACT PLAY FROM LOCAL WRITER, TOURING THE COUNTRY.
  
  1940 - Irish Home Guard drama comedy
  The Old Fire Station, Fri 8th - Sat June 9th 2012
  Location
  The Old Fire Station
  +
  −
  Leaflet
  40 George Street Oxford OX1 2AQ
  
  Visit website
  Oxfringe brought this one-act play as part of Elysion's British tour. Ironically it was written by an Oxford playwright, Stuart Lee, who is getting to be very well known in the city. After seeing their interpretation of the play, it is to be hoped that Elysion become well-known here, too.
  
  The plot involves a small Irish coastal 'home guard' unit who encounter a stranger who arrives from the sea. Who is he? What is he? And … what will they do about him? Though the title invites comparison with Dad's Army, Stuart's play is far from knockabout comedy. The political questions raised by his shrewd research into a lesser-explored area of Ireland's history are relevant and cogent. What might have happened to Ireland had the Germans been successful in a British invasion? Loyalties in the Republic were swayed in several directions at once; a parallel with contemporary war-torn countries.
  
  The characters in the play are sharply drawn and easily recognised. Paddy, the through-and-through Irish loyalist, played by Richard Sails, has an avuncular nature and plenty of earthy wit to keep us laughing. His intellectually-challenged recruit, Michael (played by Daniel McClelland) becomes the butt of a few practical jokes. Daniel risked caricature with his gormless expressive facials, but had the acting skills to generate credibility into his role. We sympathise with both parties in the duologues between them; it does seem as though poor Daniel is doing his best and that his best will always be a few pence short of an Irish pound. Dermot (played by Matt Lanigan), on the other hand, is a clear-headed soldier who has sorted out his allegiances unambiguously. He is pro-British, has already fought for King and country and believes that to be in Ireland's interests, too. The political clash and Dermot's dominance make for some amusing drama when a package arrives containing the only ammunition the unit will have - a single bullet. The writer toys with this metaphor as the second scene opens with the washing up on the beach of the man - played by Wayne Allsop.
  
  The acting of both Wayne and Matt was particularly impressive in their dramatic stand-off. Within the context of a funny play, drama can be almost impossible to attain believably. It is quite an achievement that they were convincing throughout - as indeed were all the actors. It is a fine troupe.
  
  Without giving away the twists and turns in a terse, fast-moving plot, suffice it to say that these actors fulfil their roles with consummate professional skills. James Foster's direction keeps us on the edge of our seat throughout and the denouement is exciting and unanticipated. The play does a very great deal in an hour. Perhaps, too much. There is enough material here for a longer play in which the characters would have more time to make the theatrical journeys demanded of them by Lee's tightly-written script. But the play certainly works. It is hugely enjoyable and poses important questions. I, for one, will look out for both writer and company in future.
  
  
  https://www.dailyinfo.co.uk/feature/7124/devs-army
• Dev's Army: Old Fire Station, Oxford
  13th June 2012
  ENTERTAINMENT
  THEATRE
  By Angie Johnson
  Share
  
  Dev's Army: Old Fire Station, Oxford
  Dev's Army: Old Fire Station, Oxford
  A well-crafted play with a good cast is the perfect theatrical recipe — and that is what was delivered by Dev’s Army as part of Oxfringe.
  
  Set in the Irish Republic during the Second World War, it focuses on a band of the Home Guard. These are ‘Dev’s Army’ (named after President de Valera), who patrol the coast watching out for spies, renegades and other nefarious types, with little support or equipment.
  
  The play, in fact, kicks off with the excitement of the delivery of a handful of bullets to go with their one gun. Their only transport to get help if needed is a bicycle with a buckled wheel. It’s a lonely and isolated outpost — an atmosphere brilliantly brought to life by Stuart Lee’s first-rate script and Christian Taylor’s evocative set.
  
  Mind you, it wouldn’t be a good idea to let the youngest fellow, Michael, anywhere near live ammunition. He’s what the Irish would call an ‘eejit’ — an excellent performance by Daniel McClelland, both funny and touching, cleverly avoided the pitfalls of cliché.
  
  Two older soldiers are also on hand to keep things in order. The sharp and smart Dermot has gained his experience in the trenches of the British Army during the Great War. The other, garrulous Paddy, had (allegedly) taken part in the Easter Rising. Matt Lanigan and Richard Sails (above) gave excellent performances as this pair, cleverly bringing to the f ore discussion of the political tensions during this fascinating period of Irish history, which is possibly little known in this country. The fourth member of the cast was Wayne Allsop, creepy and enigmatic as the mysterious man washed up on their beach, who unleashes murderous tensions within the group.
  
  This was an all-round excellent production, with some truly gripping plot twists.
  
  https://www.oxfordmail.co.uk/news/9758424.devs-army-old-fire-station-oxford/
• https://www.buxtonfringe.org.uk/reviews2012the.html
  
  DEV'S ARMY by Stuart D Lee - Elysion Productions
  Copyright - Elysion Productions
  In this time of ever deeper rapprochement between Britain and Ireland, when the Queen has shaken the hand of Martin McGuinness, it's interesting to look back at a little known part of Ireland's history. Prime Minister Eamon De Valera ('Dev') kept Ireland neutral during the Second World War, and this play explores conflicting attitudes to neutrality through the soldiers of the Local Security Force (think Dad's Army) guarding the coast.
  
  The old romantic Paddy (Richard Sails), like Dev, refers to the war as the "emergency", and claims he was in the 1916 rising in the GPO - "to buy a stamp" retorts Dermot (Matt Lanigan), the pragmatist who fought for Britain in the Great War. Paddy is happy to witness Britain's misfortune but Dermot believes Ireland has more to fear from the Nazis. Between them the hapless Father Dougal-like trainee Michael (Daniel McClelland) is the butt of the jokes, as they carry on patrolling the coast looking out for "funny business", either German or English, with a hopeless lack of resources.
  
  This is a superbly written play and deservedly won the New Writing award at last year's Fringe, the comedy is sharp and the barbs come thick and fast - "what will you do for brains when the donkey wants his bollocks back? - delivered by a cast that works together perfectly. Amongst the black humour and the tale-telling, the issues are debated between the glories of the past and the needs of the future, without ever being didactic. The tone changes with the arrival of a stranger (Wayne Allsop) and as he manipulates the soldiers and plays on their prejudices it moves into darker territory.
  
  Its impossible to fault this play, the performances from the four actors are all excellent, I have a soft spot for Sails' Paddy, though Lanigan's solid integrity as Dermot anchors the play. The attention to detail in the sound and the set is spot on - when they come in from the rain they are actually wet - without being overdone.
  
  You won't see a better show at the Fringe, Dev's Army has a great script and wonderful performances, what more could you ask for?
  
  Steve Walker
• https://www.buxtonfringe.org.uk/reviews2011the.html
  
  DEV'S ARMY by Stuart D Lee - Elysion Productions
  Elysion Productions | Dev's Army
  Comic, unsettling and visceral all at once, Dev's Army tells the tale of three Irish home guardsmen struggling through boredom and infighting in the Second World War. Things take a turn for the dramatic midway through the play with a blast and the arrival of a mysteriously washed up gentleman that cause old bitterness to raise its head, and camaraderie to unravel.
  
  Stuart D Lee's writing is fluid and exciting, mixing wit and tragedy to create a moving play, facilitating a dynamic chemistry between the cast members, particularly Paddy and Michael.
  
  The cast give a strong performance with Dean O'Sullivan (Michael) shining through his depiction of just the right level of endearing buffoonery, making the climax of the play all the more shocking. Wayne Allsop gives an enigmatic and intelligent performance as the mysterious stranger, leaving the audience uncertain throughout the play. Richard Sails (Paddy) creates a lovable and seemingly wise character, contrasting the voice of the dreaming revolutionary with Michael's 'fool' and Dermot's experience. Matt Lanigan gives a nuanced and rounded performance as Dermot and provides the perfect antagonist for Sails' Paddy.
  
  If the play has one failing it is the small, and very occasional slip in the Irish accents, which may, for some, detract from the subject matter, however, it is neither a common nor an intrusive issue and does not interfere with the works overall brilliance. A terrific script, a strong cast, well presented and with a great twist at the end, Dev's Army is certainly worth seeing.
  
  Charlie Newport
• https://www.whatsonstage.com/news/schmuck-off-manchester_10549/
  
  The Complex Man written by Matt Chase also shows promise and actor Wayne Allsop must be mentioned for his excellent performance.
• https://www.dailyinfo.co.uk/feature/7124/devs-army
  
  Oxfringe brought this one-act play as part of Elysion's British tour. Ironically it was written by an Oxford playwright, Stuart Lee, who is getting to be very well known in the city. After seeing their interpretation of the play, it is to be hoped that Elysion become well-known here, too.
  
  The plot involves a small Irish coastal 'home guard' unit who encounter a stranger who arrives from the sea. Who is he? What is he? And … what will they do about him? Though the title invites comparison with Dad's Army, Stuart's play is far from knockabout comedy. The political questions raised by his shrewd research into a lesser-explored area of Ireland's history are relevant and cogent. What might have happened to Ireland had the Germans been successful in a British invasion? Loyalties in the Republic were swayed in several directions at once; a parallel with contemporary war-torn countries.
  
  The characters in the play are sharply drawn and easily recognised. Paddy, the through-and-through Irish loyalist, played by Richard Sails, has an avuncular nature and plenty of earthy wit to keep us laughing. His intellectually-challenged recruit, Michael (played by Daniel McClelland) becomes the butt of a few practical jokes. Daniel risked caricature with his gormless expressive facials, but had the acting skills to generate credibility into his role. We sympathise with both parties in the duologues between them; it does seem as though poor Daniel is doing his best and that his best will always be a few pence short of an Irish pound. Dermot (played by Matt Lanigan), on the other hand, is a clear-headed soldier who has sorted out his allegiances unambiguously. He is pro-British, has already fought for King and country and believes that to be in Ireland's interests, too. The political clash and Dermot's dominance make for some amusing drama when a package arrives containing the only ammunition the unit will have - a single bullet. The writer toys with this metaphor as the second scene opens with the washing up on the beach of the man - played by Wayne Allsop.
  
  The acting of both Wayne and Matt was particularly impressive in their dramatic stand-off. Within the context of a funny play, drama can be almost impossible to attain believably. It is quite an achievement that they were convincing throughout - as indeed were all the actors. It is a fine troupe.
  
  Without giving away the twists and turns in a terse, fast-moving plot, suffice it to say that these actors fulfil their roles with consummate professional skills. James Foster's direction keeps us on the edge of our seat throughout and the denouement is exciting and unanticipated. The play does a very great deal in an hour. Perhaps, too much. There is enough material here for a longer play in which the characters would have more time to make the theatrical journeys demanded of them by Lee's tightly-written script. But the play certainly works. It is hugely enjoyable and poses important questions. I, for one, will look out for both writer and company in future.
• Date: 29/06/11
  Dev’s Army
  Taurus Bar, Manchester
  IF you were to treat this as a sample of the delights coming our way in the third Preston Tringe – later this month – then the city’s forthcoming fringe theatre festival appears to be guaranteed some high standards.
  Dev’s Army is a classy example of how a one-act, four-hander play, lasting just 60 minutes, can hold an audience in the palm of its small-scale hand.
  Stuart D. Lee’s story has already won a theatre award in Galway, as well it should since it’s set in Ireland, where a small contingent of the Irish Army is earnestly protecting their country’s wartime neutrality, by guarding a remote beach.
  Imagine Dad’s Army on a sortie into Father Ted territory . . .
  A cast of Manchester-based actors, Richard Sails, Matt Lanigan, Dean O’Sullivan and Wayne Allsop, deliver it here in the almost claustrophobic venue of a Canal Street cellar. The front row audience could sit down to a meal with the cast.
  Naturally this would not be a proper Irish play were it not served up with an authentic head of rich, black humour.
  The arrival, by parcel, of a single bullet for their single revolver creates its own tensions among the three-man detail, but even that is overshadowed by the explosive appearance of a stranger on the shore.
  In just one hour Lee gives each of his characters a defined back story and creates a catalytic interaction that deftly mixes humour and high drama. He is even able to illustrate the mottled nature of allegiances in a newly-born country that was still unsure of its place in the world.
  First appearances here, and motivations, are not all that they appear to be.
  To say much more would spoil the play’s undoubted impact, so find out for yourself when Dev’s Army troops into the Continental in Preston on July 22.
  David Upton