Review: The Glory Days, Etcetera Theatre

Holding onto ‘The Glory Days’: a childhood trophy, an excellent goal, a fond memory of youth, is a feeling familiar to many, but especially protagonist Camilla ‘Cammy’ Coles, who juggles life in the corporate world with football all while maintaining a personal life and trying to excel at it all. 

The one-woman format works very well, and Sarah Louise Hill jumping between characters, place, and time emulates the busy balancing act in which her character operates. There is complete clarity in who, where, and when we are watching, thanks to Hill’s range of accents and physicalities to clearly distinguish characters. The simple set cleverly aids this: the commentator box bringing us into the football world, the desk chair signifying work life, and the central bench blending the worlds, representing both the football bench and pub seating. At times, more actors seem to fill the stage, yet it remains just Hill who immerses herself in characters ranging from Coles’ childhood boyfriend, to unbothered clients, to eagle-eyed commentators. The transitions between place, time, and character are also effective — a good blend with some going exactly where anticipated, and some subverting audience expectations entirely. At times, it becomes slightly repetitive, as playing multiple characters demands constant jumping back and forth, but on the whole, the transitions are interesting and varied enough to counteract the slight repetition of the one-woman set-up. 

The play is hilarious, and comedic moments come in the clever use and alteration of football chants, top-notch trumpet playing, and the interweaving of cultural references. At times these references are slightly superficial, but overall great comedy is achieved, particularly a perfectly placed nod to padel’s popularity. Some of the play’s funniest moments come without words, and Hill’s facial expressions and movement convey everything the audience needs: the all too familiar situation waiting for someone to answer a video call, pushing through an uncomfortably crowded pub (which Hill depicts amazingly despite the lack of actual crowd), and even a one-woman ‘stage kiss’ – something I previously would’ve doubted was possible. 

Whilst the play thrives in its humour, it also succeeds in its sensitivity, and Hill portrays vulnerability very movingly. The contrast between the humorous side of Camilla Coles’ ‘Glory Days’ and her chase for success, with the moments that truly take a toll, makes the play all the more poignant. The height of this vulnerability is seen throughout in her relationship with her Grandad and her desire to continue making him proud as she did as a child. This relationship is central throughout, and a particular standout moment of Hill’s ability in vulnerability comes in a letter she reads aloud to him in the care home. The choice to save a seat in the audience to represent Grandad makes this impactful, and reminds us of his presence in her life throughout, conveying a relatable and beautiful relationship. 

In fact, Hill utilises the audience and the entire space at the Etcetera Theatre very well, and it makes for really engaging theatre that is pure fun to be a part of. Not a moment goes by where the audience isn’t engaged in the story of Camilla Coles, and it was certainly the most involved in a play I’ve ever felt, singing along, cheering, and watching fellow audience members turn into pub punters, pitch-side interviewers, and more. 

Hilarious, vulnerable, athletic, and musically talented, Hill emulates her character’s juggling act, as well as portraying truly relatable themes of chasing the feeling of success and striving to make the important people in your life proud, creating a well-balanced night at the theatre – equally entertaining and moving.

Written and Performed by: Sarah Louise Hill
Directed by: Emma Nihill Alcorta

The Glory Days has completed its run at the Etcetera Theatre.