Writer: Andrew Hollingworth
Director: Michael Woodwood
Science fiction space operas and the Western have always had a lot in common. One of the most popular forms of the former was based on the latter – Star Trek was initially pitched as “Wagon Train to the Stars” by its creator Gene Roddenberry, the wild frontier of the West replaced by space’s final frontier.
In the 2000s, the link was made explicit by the short-lived but beloved TV series Firefly, in which Nathan Fillion’s Mal Reynolds and his band of rogues had escapades in a space universe whose very aesthetic was based upon the Western. Such influences are not only a factor in Andrew Hollingworth’s Tin Can, but they’re also leaned into even more – with bucketloads of Red Dwarf’s lo-fi set designs and comedic sparkle thrown in.
The story revolves around Kane (Hollingworth) and his partner Lazzy (Rebecca Levy), refugees from the mysterious K1 organisation who take up a life of petty theft and robbery to escape and survive. But when they end up losing all their filthy lucre in a space casino, the venue’s owner dragoons them into a train heist.
Hollingworth’s script is laced with humour throughout, thankfully always lampooning the ridiculousness of the situation rather than parodying the genres it revels in. Much of the comedy comes from the extremities of Charlotte Bloomsbury’s multiple characters, from an android waitress inspired by a 1950s diner to the casino owner, via an eyepatch-class assassin, a shoe-obsessed fuel pump attendant and more. The central characters of Kane and Lazzy are just as humorous, but their comedic moments feel sprung from character rather than caricature. The actors’ cod Western accents may slip from time to time, but the writing is clear enough that neither they nor we lose our grasp on who these two intergalactic sweethearts are.
The minimal set and props are simple yet effective, largely supported by the integration of a double-sided projection screen that elevates scene after scene. It is clear that Hollingworth has great affection for the genres of both Westerns and sci-fi epics – and it will largely satisfy fans of either, or both, who want to laugh as much as they are caught up in the epic adventure the heroes find themselves in.
But that epic scale is also Tin Can’s weakness. Running well over two hours, it can feel as if Hollingworth has been reluctant to edit anything out. Some scenes and scenarios feel extraneous, diluting both the comedic and dramatic impact of the piece as a whole.
It is welcome that a comedy Western/sci-fi stage caper also cares about delivering a satisfying plot among the jokes. Were Hollingworth able to deliver the same in a tighter, leaner running time, he’d have a surefire hit on his hands.
Runs until 28 February 2026
