Up 'n' Under with Talkback at Hull Truck Theatre By Elsie Creek

So, it's twenty years ago that John Godber showcased this, his first play for Spring Street Theatre, for which he won the Laurence Olivier Comedy of the Year Award. There has been a lot of water under the bridge since then, as we were reminded in the post-show talkback with director and cast. Both Hull Truck and John Godber have gained notoriety far and wide; for many they have become defining features of Hull.

Though the play was good, those who stayed behind were obviously more concerned with the changes afoot - Hull Truck's move to Ferensway. It is a natural fear that we will lose this unique institution to commercial pressure. Spring Street's charm is partly in its cult appeal; being off the beaten track, its audiences consist of a hardcore group of dedicated followers and a shifting pool of cognoscenti. However, survival is all about moving with the times, and in this case the management have taken the old adage quite seriously. It is a difficult aim they have set themselves: to encourage new patrons without alienating the existing fans. To that end, Godber and other associated people have worked hard to distil the essence of Hull Truck and transfer it to the new location.

Until the transfer is complete, there are many people getting awfully anxious about its potential success or failure, and they are not quite sure which would be worse. The talkback brought home just how special the theatre is. It is a common affliction in Hull (and surely not only here), to take for granted what we have and then complain when we lose it. Fingers crossed, this will be different. Still, it was almost a shame that the warm glow the play induced had to be overlaid with a mournful feeling of nostalgia for the soon-to-be-abandoned site of decades of emotion.

The play itself is a feel-good, laugh-a-minute romp, full of the much-loved British humour at the struggle of being working class. Godber is a self-confessed exponent of the common man's life, and thus an amateur rugby team of crackpots and losers is an ideal theme for him. This anniversary edition of Up 'n' Under has been largely rewritten, and updated with modern chart music. Yet this time, unlike with the much-maligned film, Godber has succeeded in retaining and building upon the magic of the original.

For someone who is so scathing of what he refers to as artistic fascism, Godber is surprisingly arty in his stage play. Though he has shown admirable restraint in this production, he could not resist peppering the dialogue with Shakespearian commentary; a novel but somewhat controversial juxtaposition. Other theatrical devices are more successful, such as the slow-motion scenes and the brilliant climax of the play with a seven-a-side rugby match played out with only six actors.

The opportunities for hilarity are many and fully exploited. I love the realistically local discourse; the blunt honesty of expression. There is swearing, but it is inoffensive and appropriate. Rather than probing deeply into the less-than-idyllic lives of his characters, Godber has chosen a more light-hearted approach with more froth than substance. The actors are attractive; there is a wide variety of music and best of all you are allowed to take your drinks into the auditorium. A thoroughly enjoyable evening's entertainment, I recommend this play to anyone who needs a bit of escapism or a good chuckle.

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