Writer: Che Tligui
Co-Creators: Callum Burns & Joseph Stanley
A promising start, with laugh-out-loud Northern wit and humour, but one that never quite gives its intriguing characters the opportunity to fully unravel.
Fly on the Wall Productions presents a modern take on an Ibsen-style one-room drama, offering a one-act dose of Northern realism. Set against the bleak backdrop of a cold January Sunday morning in 2008, we’re invited into a council flat where two young men are trying to navigate unemployment, financial hardship and an uncertain future.
Written by Che Tligui and co-created by Callum Burns and Joseph Stanley, who play Tristan and Craig respectively, the production is anchored by two compelling performances. Both actors are immensely watchable, striking an effective balance between comedy and drama while delivering the script’s sharp Northern humour with authenticity.
Aspiring writer and “shandy princess” Tristan has finally reached the end of his tether with Scouse lad Craig, who has outstayed his welcome while sofa surfing in Tristan’s flat. With both men skint and out of work, tensions start to simmer beneath the surface. Craig, nursing a hangover from the previous night, is already planning another afternoon at their local Queen Vic to watch the footie and drown his sorrows, much to Tristan’s annoyance.
The unexpected arrival of Craig’s niece, baby Poppy, introduces a dramatic shift and creates genuine tension between the two men. Burns and Stanley handle these moments with conviction, but the circumstances surrounding the baby’s arrival ultimately undermine the urgency of the situation and slows down the pacing. Craig’s insistence on keeping the child rather than contacting the authorities, simply to avoid being seen as a “snitch”, feels difficult to justify given their already desperate financial circumstances. Equally, his apparent lack of concern for his sister’s whereabouts is never fully explored, leaving his motivations feeling underdeveloped. Rather than deepening Craig’s character, the storyline feels like a missed opportunity.
There are a few minor technical distractions, the positioning of the speakers occasionally meant the baby’s cries seemed to come from a different part of the stage compared to where she was, and at one point it sounded as though there were two babies crying simultaneously. However, scene transitions flowed smoothly, complemented by an excellent soundtrack and subtle lighting changes that helped maintain the production’s atmosphere.
The chemistry between Burns and Stanley is undoubtedly the production’s greatest strength. Their dialogue feels authentic, and their comedic timing is consistently engaging. Yet, while their conversations are enjoyable, they don’t significantly move the narrative forward or raise the emotional stakes. The play hints at deeper themes of masculinity, friendship and poverty, but never quite digs beneath the surface enough to fully realise them.
This remains an entertaining hour of theatre, largely thanks to two excellent central performances. Burns and Stanley ensure there’s plenty to enjoy, making this a promising production that perhaps just falls short of its full potential.
Concrete was shown as part of the Creative Corner Festival on 21 July 2027
