JADAR

★★★☆☆

As part of its 25th anniversary celebrations, The Lowry teams up with Not Too Tame and its very own Young Company to present Gods of Salford – a bold, energetic production that puts young working-class voices centre stage.

With a young, passionate ensemble and a clear message about working-class identity and individuality, the bright young company at the core of Gods of Salford are its highlight. Yet, despite the commitment on stage, the production struggles to find its footing amidst a rigid structure, unclear storytelling, and underwhelming musical choices.

The young ensemble cast of Gods of Salford perform with sincerity beyond their years. Alesha Mutimukulu as Alkaios leads with natural authority, grounding the ensemble with confidence. Ava Booth’s monologue as Kiron in the final act is especially stirring, bringing raw emotional depth, while Max Healey injects charm and comic relief as the exuberant mythical game show co-host. Alivia Andrew’s powerful monologue as Ron centres around being discriminated against at school for being working class is a standout, full of conviction and clarity. Together, the cast share a palpable closeness, and their collective effort is the production’s strongest asset.

The inclusion of the adult cast occasionally disrupted the flow, with the production’s own director and the Not Too Tame’s Artistic Director Jimmy Fairhurst stars as Hermes Alpha, Anthony Quinlan (Emmerdale, Hollyoaks) as Zeus and Laura Harrison (Wicked Standby) as Hera. Their presence, though, felt unnecessary, particularly when the young cast had all the tools to carry the piece on their own. With more focus on the young performers, the production could have embraced a purer and more impactful perspective.

The show’s mythological framework, though ambitious, often felt muddled. The story was difficult to follow, despite the dialogue heavy script that over explains the plot to us. However, its central theme- that working-class individuals deserve to be seen, not stereotyped- rang clear. It’s a timely and vital message, even if the wider plot was hard to follow.

Much of the soundtrack relied on repetitive loops as background music, lacking the excitement needed to support the action and spirit from the ensemble. The one exception was a hilariously offbeat ‘Tequila’ sing-off with Hera, which brought much-needed levity. Laura Harrison, as Hera, gave an immaculate vocal performance fitting her West End status – think full Elphaba riffs – but was let down by songs that simply didn’t match her vocal talent.

Promised as immersive, the production didn’t quite achieve that ambition. Not Too Tame are known for creating visceral, close-up experiences, but here, the immersive label felt misplaced. The Lowry’s Quays Theatre may not have been the right space, lacking in intimacy, but more importantly, the show didn’t seem written with immersion truly in mind.

It’s heartening to see The Lowry champion young artists; investing in the production and proudly displaying a massive banner in the foyer. This kind of visible support from a major venue is a crucial step in shifting theatre culture towards inclusivity. But if we’re to empower new talent, we must also offer them material worthy of their potential.

There’s something meaningful here; a chorus of young voices demanding to be heard. With clearer storytelling, more focus on the ensemble and their characters’, and sharper musical direction, this show could have sung even louder.

Photo: Patch Dolan Photography