Review: Manchester Drive, Canada Water Theatre

When someone says star-crossed lovers, one thinks Shakespeare. When someone says war, one thinks of the current news. Manchester Drive, the street in North Kensington, is neither of those. Behkam Salehani’s Manchester Drive, part of this year’s Peckham Fringe, is both those things and even more. 

Manchester Drive’s story about a young man being swept up by fame and losing his ground is not new, nor is the story about a war not being reported about in the news. But it is in the combination of these two, brought together by a romantic subplot and themes of immigration and xenophobia, that Manchester Drive finds its unique footing. Salehani’s authentic and energetic perspective as Ardz makes the play feel both fresh and relevant. The dual storylines are explored at somewhat lightly, but serves the production’s needs, ensuring that neither stories stand out above the other, allowing them to merge seamlessly. 

The trio of actors – Salehani, Rima Georges, and Wesley Bozonga – are marvellous at tackling all of story’s emotional beats and comedic moments. Georges’ Shirin starts off small, but her growth in confidence is spectacular to see. Her performance gives the war storyline the necessary depth and gravitas. Bozonga plays Ardz’s best friend/Shirin’s brother, as well as the music producer and the TV host. He differentiates the three characters perfectly with subtle voice and posture modulations. He is the perfect comedic force of the show, landing every beat perfectly with an insane amount of energy. 

The most unique aspects of the show are its audience participation and the music. The performers interact with the audience, riffing with them constantly in smooth and funny ways, and the audience is even invited on stage to become part of the scene. There is an energising feeling going through the audience, keeping them even more engaged to the story. Ardz’s rap perfectly encapsulates the genre by telling stories that complement what’s happening on stage. Musically, it is great, and storywise, it is even better. 

The stage at the Canada Water Theatre is left mostly empty, safe for a coat rack with the clothes that will mark Ardz’s change. The cast uses all the space available, including the stage doors and steps next to the seats, to transform the space into whatever it has to be. There is a feeling of intimacy created as well, by the use of audience spaces, bringing us closer to the story. Lighting changes are used sparsely, perhaps a bit less than I would have thought necessary, but when they do happen, they enhance the emotional resonance of the play immensely. 

As it currently stands, though, Manchester Drive has some pacing issues. It is hard to take in the passage of time without explicit cues in the script or the scenery. Given that the story is supposed to show Ardz’s change in fame, status, and mindset, not understanding how long it has taken for any of this to happen makes it feel kind of muddy. There are also moments in scene transitions that are made awkward by unnecessary pieces of dialogue. Saying “I entered the shop” or “I left running” instead of showing the changes with sound cues and pantomimes underutilises the audience’s suspension of disbelief, a must in the theatre.

Despite these pacing issues, the show remains striking and powerful. Salehani is the beating heart of this piece. His rap is precise, his comedic timing is perfect, and he nails the emotional and heavy moments. Playing Ardz and his father, Salehani leaves everything on stage.

Writer: Behkam Salehani
Director: Amari Harris
Producer: Alessandra Zavagno
Sound Designer: Conrad Kira
Dramaturg: Adrian Paul Jeyasingham
Technical Operator: Iqbal Garewal

Manchester Drive has concluded its run at Canada Water Theatre as part of this year’s Peckham Fringe