Lynn Faces is a new play by Laura Horton, commissioned by New Diorama Theatre, Norwich Theatre and Theatre Royal Plymouth, and is the winner of the Birds of Paradise Exceptional Theatre Award at the Edinburgh Fringe 2024.
We walk into the theatre space and through the smoky atmosphere we appear to be going to a gig not a play – there are band instruments on the stage.
The band, minus the drummer, come out wearing masks, the same mask, the face of Lynn Benfield – the character who was the long-suffering, face-pulling assistant to Alan Partridge. The first track is about snazzy cardigans, a homage to Lynn, and which the band are all wearing. They are clearly a bit nervous. It’s also clear they are not very good.
This comedy play is also a gig, the gig is the play. Leah wants to get through her bucket list before she turns 40 (tomorrow) and an item on the list was to form a punk band and play a gig. This is that live gig with their slot being before the Big Banana Bingo. They have to perform or they will need to refund all the tickets, unfortunately the drama of Leah’s break-up is interrupting the gig.
The drummer is Joy, she hasn’t turned up yet and no-one knows if she’s actually going to. Although the rest are not too worried considering they haven’t really rehearsed, will it make much of a difference to the audience anyway? They apologise and think the best thing is to carry on. The DIY punk songs are short, and have reference to Alan Partridge in some way or another. They are very funny.
Leah thinks Lynn Benfield is an icon and named the band ‘Lynn Faces’, the songs are a celebration of what she could be like if the tables were turned where she was the boss and not the down-trodden assistant.
Leah (guitar/singer) is currently reflective, emotional, she is trying to get through a painful breakup, although Pete is still sniffing around and her confidence is shot. Her story unfolds between the tracks as all kinds of ‘incidents’ take place, such as: band members argue as the song list changes, Leah keeps looking at her phone as Pete is making comments, Shonagh (percussion) has no idea who Lynn is and Ali (keys) Leah’s best mate is trying to convince her not to keep texting Pete as he’s no good. Lots of things happen which makes it quite fun bonkers and highly amusing.
As the performance plays out we learn more about the characters, and how they deal with this situation, Shonagh takes the mic for some ‘crowd work’ when Leah is distracted, she’s a teacher who tries to be nice to everyone, and she can play a wicked recorder solo. Ali, who doesn’t quite want to be there is frustrated at Leah’s distractions, but still tries to support her and convince her to get away from Pete for good.
Joy the drummer does actually turn up to play a few tracks but doesn’t speak, drops the massive crochet cow and then leaves early after giving her advice.
As the comedy, drama, songs, and plenty of chaos unfolds, we unmistakably see that Pete is a narcissist and Leah’s ‘issues’ are not of her own causing, but due to an emotionally abusive relationship.
After some audience participation, Leah is slowly understanding this emotional abuse and the red flags she has been missing.
Watching Leah go from low self-esteem, worrying about the boyfriend to realising he’s no good, how his behaviour has been affecting her life, how it’s not normal and breaking free from his clutch and turning into someone with more energy and fight, standing taller, and finally feeling liberated is very impactful.
It’s a uniquely quirky, witty way to deal with the theme of abuse and how its slow infiltration into your life without you realising, and the shear clarity once you have your eyes opened to the truth. Despite the dark theme, this play is hugely compelling with hilarious song lyrics, good audience engagement, amusing links to Alan Partridge, and the overall comedy is entertaining.
The cast were just great, and were:
Laura Horton (writer) – Joy
Madeleine MacMahon – Leah
Peyvand Sedeghian – Ali
Millie Faraway – Shonagh
Rehearsal Photos:
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With thanks to Norwich Theatre