Review: LYNN FACES, New Diorama Theatre

In an era where nostalgia often serves as a mere backdrop, Lynn Faces delivers a sharper perspective, wielding both comedy and commentary with remarkable precision. Running since 2023, this production masterfully interweaves punk aesthetics with feminist discourse, creating a theatrical experience that resonates beyond its initial laughs.

The narrative centres on Leah (Madeline MacMahon), a woman confronting her impending fortieth birthday while nursing both a hangover and the psychological wounds of a toxic relationship. MacMahon brings a compelling vulnerability to the role, particularly evident when the symbolic Lynn masks – worn by all characters initially – are removed, leaving her character exposed and uncertain.

Peyvand Sadeghian's portrayal of Ali, the keyboard player, provides the production's moral compass, delivering uncomfortable truths about Leah's relationship with the unseen but omnipresent Pete. Laura Horton, who also wrote the piece, crafts an intriguing character in Joy, the late-arriving drummer who communicates through written notes, adding layers of meaning to her seemingly simple role.

The production's strength lies in its ability to balance multiple thematic threads. The obvious homage to Alan Partridge's long-suffering assistant Lynn Benfield serves as both comic relief and social commentary, particularly through lyrics that pointedly address the misogyny she endures. The influence of 90s feminist punk, particularly Bikini Kill and the Riot Grrrl movement, manifests in both style and substance, with deliberately unpolished musical performances that paradoxically showcase the cast's genuine musical prowess – most notably in the harmonies during "Liberated."

The use of strong language throughout the performance serves as more than mere shock value – it becomes a powerful tool of self-expression, echoing the raw, unfiltered voice of punk protest against sexual harassment and societal constraints. This linguistic boldness, combined with razor-sharp lyrics targeting misogyny, creates a powerful testament to feminist resistance.

Designer Tabitha Stock maintains a traditional band setup, while Megan Lucas's lighting and video work provides adequate support without unnecessary elaboration. The costumes cleverly incorporate punk rock elements – fishnets, statement cardigans adorned with pins – creating authentic character presentations without falling into caricature.

The production takes an interesting turn when Pete's phone call interrupts the band's performance, leading to revelations about his behaviour through the character of Shonagh. This moment transforms what might have been a simple comedy into a more nuanced exploration of relationship dynamics and personal growth.

The chemistry between MacMahon and Sadeghian stands out, their interactions forming the emotional core of the piece. Their portrayal of middle-aged female friendship feels genuine and unforced, providing a solid foundation for the play's broader themes.

While the production will certainly appeal to Alan Partridge enthusiasts, its exploration of feminist themes through the lens of punk culture offers deeper engagement. The deliberate connection between third-wave feminism and punk self-expression, particularly in addressing issues of sexual harassment and domestic abuse, elevates the material beyond mere entertainment.

Director Jessica Daniels has masterfully orchestrated this complex production, while Anna Wheatley's original music and lyrics perfectly capture the raw energy of punk protest while delivering sharp social commentary. Together, they've created a production that successfully balances its various elements – comedy, social commentary, and musical performance – while maintaining its focus on character development and thematic coherence.

Lynn Faces manages to be simultaneously entertaining and thought-provoking, offering audiences a fresh perspective on familiar themes while delivering genuine laughs. It's a testament to how comedy can serve as a vehicle for exploring serious subjects without

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