Writer: Helen Serafinowicz
Director: Stephen Fletcher
It was perhaps inevitable that the ever-scrutinised relationship of Wayne and Coleen Rooney would one day take centre stage at the Royal Court Theatre. Still, one is mildly astonished it’s taken this long to reach the Roe Street stage. In The Legend of Rooney’s Ring, Helen Serafinowicz -creator of the acclaimed BBC comedy Amandaland – transforms Coleen’s symbolic act of discarding her engagement ring into a whimsical, semi-fantastical fable, blending reality with layers of imagination and absurdity.
Such hybrid storytelling feels well within the Royal Court’s wheelhouse, yet this production seems uncertain of its own theatrical identity. It flirts with high fantasy but never leans far enough into Lord of the Rings-style parody to warrant full spoof status. At the same time, it stops short of pantomime exuberance and misses opportunities for incisive satire – especially when its antagonist, a fictionalised Donald Trump, pales in comparison to the real-world figure’s daily provocations.
Still, Serafinowicz, paired with director Stephen Fletcher, conjures plenty of infectious chaos and cleverly woven musical interludes. Among the vibrant ensemble, Keddy Sutton steals scenes with her riotous portrayal of a roguish Scouse nan, while Emma Grace Arends dazzles as C’leen and John May brings an endearing buffoonery to Wayne. Liam Tobin and Lindzi Germain form a compelling royal duo, and Terry Mynott delivers a sharp, humorous take on Trump.
Yet the crown jewel of the production is Olivia Du Monceau’s imaginative set design. The Golden Ring, paired with a torn-paper projection backdrop, imbues the stage with an epic visual language that elevates the entire piece.
Clocking in at just under two hours, including interval, the show never feels overlong. That said, it suffers slightly from an overstuffed narrative and a lack of thematic clarity. With a more disciplined script and bolder satire, it might have soared even higher. As it stands, it’s a lively theatrical romp, one in which the performances, more than the plot, carry the day.
Runs until 23 August 2025
