Review – Masquerade – Epstein Theatre, Liverpool

Laura Lees’ Masquerade was first seen at the Royal Court Studio in the summer of 2019, and it was hailed as both a powerful drama and a big slice of nostalgia for Liverpool’s LGBTQ community, bringing back memories of the long-gone original Masquerade club and its quirky owner.

Like the Masquerade itself the play has now reincarnated in this new and extended version with additional material by Tom Lloyd and director James Baker.

There are two main threads to the play, one being the personal stories of Mike, Tony and Stuart, learning to carve out lives for themselves in 1980s Liverpool, and the other being the backdrop of hate and ostracism resulting from the growing HIV/AIDS crisis at the time.

Mike is a shy young man, whose more outgoing friend Tony encourages to venture into the Masquerade. Here he finds himself, a future, and romance, when he meets Stuart - AKA Judy - the acid-tongued drag performer who behind this persona is the gentlest of souls. But as was very much the experience for so many of us in the early ‘80s, the joy of self discovery was set against the fear campaign sold by the government in response to the public health crisis. Thus the character of Elvis in the play becomes almost a metaphor for all those affected by the virus.

Lees’ original text focused heavily on the nostalgic element of recreating the Masquerade itself, with its carpet that your shoes would stick to, about which sashayed the owner Frank and his unending trays of sandwiches. This nostalgia is still in evidence, but Lloyd and Baker’s reworking broadens the scope of the work by expanding the narrative. As Baker explained, every city has its Masquerade, and as director of this revival he was keen to make the story less about the venue itself and more about the period and the people, and to tell the story in a way that could have happened anywhere.

By framing the play with a prologue and epilogue that turn the narrative into a flashback, this new version both has better structure and a more optimistic ending. Especially in its treatment of the character of Elvis, a small but pivotal role played by Joey Colesante, it tells a much bigger story through the lives of this small group of friends.

Neil Macdonald plays Mr Masquerade himself, the larger than life Frank, but also puts in an appearance as the older version of Mike as he remembers his past. Catherine Rice gives a suitably brassy turn as Frank’s sidekick Norma, whilst sparks fly from Joe Owen’s energetic portrayal of the ebullient Tony.

The show however revolves around the central pairing of Mike and Stuart, and here are two performances given with incredible warmth and sincerity. Michael Bailey really captures the different sides to Stuart’s character, making a great drag queen and switching in an instant to tenderness and vulnerability. Jamie Peacock originated the role of Mike in the 2019 premiere, and in my review I flagged him as a name to watch out for. At that time Peacock was about to embark on his studies at LIPA, a course which he has recently graduated from, and it is a joy to see him back in this part – one which has grown almost as much as his own confidence and assured charm as an actor.

Ellie Light’s set cleverly suggests the enclosed space of the club whilst allowing plenty of space for movement and energetic entrances and exits, and the atmosphere is completed by a bouncing ‘80s soundtrack and atmospheric lighting from Doug Kuhrt.

This new version elevates Lees’ original text in a way that gives it an appeal and a relevance that stretches not only beyond the remembered walls of the original Masquerade but also well beyond the city that it grew up in. Here is a production that needs and deserves a tour.

Joe Owens (Tony) and Jamie Peacock (Mike) in Masquerade - © Anthony Robling

Jamie Peacock (Mike) and Joe Owens (Tony) in Masquerade - © Anthony Robling

Michael Bailey (Judy/Stuart) in Masquerade - © Anthony Robling

Star rating: 4½ stars

This review was originally written for publication by Good News Liverpool