Review: THE NAP, The Crucible, Sheffield, Mar 15 2016

As a Sheffield resident for the past 18 years, I'm slightly ashamed to admit that I've never been to watch live snooker at the Crucible - at least I hadn't, until I saw the live match that forms the climax of Richard Bean's new play The Nap, directed by Richard Wilson.

Written especially for the Crucible Theatre (it is hard to imagine how it could play out as successfully in any other theatre, given its hook is bringing together both the snooker and theatre sides of the venue, and it's full of in-jokes relating to the location), The Nap follows promising young snooker player Dylan (Jack O'Connell) as he wrestles with his conscience when he is approached to throw a match.

Dylan is a great character - a more enlightened soul than either of his parents (played by Mark Addy and Esther Coles) - for example, repeatedly pointing out the opponent they call 'the Chinese fella' is actually Thai. He is presented as someone with real integrity and passion for his sport who is sympathetic to others whilst not being necessarily holier-than-thou in every aspect of his behaviour. It's a role that fits perfectly with Jack O'Connell, whose blend of cheeky charm and working-class-boy-done-good carries the play - and our sympathies. Whilst the role may not be particularly different to the TV and film roles he is best known for, he is a captivating and charismatic presence whose naturalistic style actually fits quite well in this play where he is surrounded by a bunch of larger-than-life characters. His snooker playing is also pretty impressive and I wonder how many rehearsals he must have had to get it right!

The snooker itself takes centre stage in every scene - there is always a table on stage and different characters are always taking shots. The culmination of this is a thrilling live match between Dylan and rival Duncan Ferryman (played by a genuine professional snooker player John Astley), which saw the audience gasp, clap, coo, cheer and be told to be quiet by the umpire in much the same way as a 'real' match. My friend, who has been to see the snooker live, said it was just like the real thing - even down to the lighting used in the live match. As is typical for the Crucible, staging (by James Cotterill) is innovative and exciting, transporting us through a very believable rundown working man's club/pub backroom, to the hotel room where Dennis Taylor stayed before his famous victory over Steve Davis, to Waxy's club, to India (in one slightly mad scene about the origins of the game), to the Crucible itself.

The play is perhaps not as polished as Bean's most famous work, One Man, Two Guvnors - the first act, in particular, is somewhat rough and ready, with the humour varying wildly from crude and old-fashioned jokes to those that are more inventive. Jokes at the expense of the transgender character, Waxy, teetered on the edge of being lazy and offensive and I think in some instances they fell the wrong way, feeling somewhat out of place in 2016 where representations of trans people are increasingly more diverse and respectful. That said, the character herself is not a walking stereotype, but one of the most interesting roles in the play, and the audience can't help but root for her, even in scenes where her motivations are opposed to Dylan's - the other character we most want to see succeed.

The second act, however, is much more assured. The plot becomes more interesting through a series of surprising developments, and some of the slightly strange things done and said by characters in act one begin to make more sense as we learn new things about them. I can't say too much more without ruining the plot - and this is one where you don't want to be spoiled before going in, trust me! The only quibble I have with this act is that Dylan, generally very enlightened and sensitive, calls a female character a 'slapper' during an argument, which seems out of keeping with his character.

Although I have one or two qualms about the play, particularly the humour in the first act, the overall feeling is a great sense of energy and lightness. Audiences will be drawn in, no doubt, by the combination of high profile cast and the Crucible celebrating itself and its two key purposes - and they will almost certainly leave having had a good time. The most common comment I heard from theatre-goers on the way out was that it was 'fun' - and it certainly was. It's not going to radically change British theatre, but it is a great night out.

The Nap is at the Crucible Theatre, Sheffield until April to 2016

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