Review: Night Collar at St Helens Theatre Royal

“…leaves audiences laughing while celebrating the characters that make Liverpool tick…”

Night Collar by Tony Furlong and Jimmy Power, St Helens Theatre Royal

By Abi Kelly

It’s Christmas Eve, and nobody is sleeping during St Helens Theatre Royal’s Night Collar. This fast-paced festive comedy follows one unlucky cabbie as a series of eccentric passengers turn an ordinary shift into a night he’ll never forget.

We open with the weary taxi driver, grumbling about long shifts, relentless fares, and ten years behind the wheel just to make it home to his “confetti-fingered” wife. From his first lines, the tone is set: self-deprecating, sharp, and effortlessly funny. John May’s performance immediately hooks the audience, delivering wry Scouse humour with precision. Within minutes, he has the house laughing, listening, and buckled in for the ride.

As the cab ferries its fares across Liverpool, the story unfolds through a series of vivid encounters. Each passenger, brought to life by the versatile ensemble, offers more than just a quick gag; together, they reveal new shades of the driver’s own character. In this way, the play becomes not only a comic portrait of the city’s nightlife but also holds a mirror up to the man behind the wheel.

The staging, dominated by a cleverly halved black cab, frames these encounters as crisp, energetic vignettes. From rowdy partygoers to nostalgic chain-smokers, each scene brings its own rhythm, sketching both the chaos outside and the resilience within. Lighting and sound are used with subtlety but effectiveness, from street noises to spot cues, immersing the audience in sounds of a not-so-sleeping city.

A standout element in Night Collar is how effortlessly the ensemble cast transitions between multiple roles. The audience is never lost, thanks both to the performers’ skill and to the wardrobe department’s clever work. Distinct costumes give clear visual cues to signal each new character, allowing the actors to slip seamlessly between personalities while keeping the storytelling clear and engaging.

The cast leans into the madness with infectious energy. May anchors the piece with sharp comedic timing, witty yet grounded in the straight-man role that gives the ensemble freedom to fully embellish their characters. A highlight comes from Jenna Sian O’Hara’s turn as Arl Mary, paired with John O’Gorman as her blind son, which had the audience in stitches. Their physical comedy opened the play beyond the confines of the cab, a shift that was clearly relished by the crowd.

Director Chantelle Joseph keeps the pacing brisk and playful, allowing each punchline to land cleanly without feeling rushed. The transitions between the cab’s interior and the city outside are smooth, maintaining momentum while giving each vignette room to breathe.

It’s clear to see the creative team’s inspirations lie close to pantomimes, with the Taxi Driver addressing the audience in asides and music that feels all too apt for each new fare. The updated version of this production leans into what was already there, producing a night of feel-good entertainment.

Night Collar is a warm, raucous ride through the heart of Liverpool on Christmas Eve, packed with the kind of sharp, self-deprecating Scouse humour that feels instantly familiar. It’s funny, affectionate, and just sentimental enough to linger after the curtain falls, capturing the city’s unique rhythm, wit, and warmth. Balancing physical comedy, clever dialogue and human insight, the show leaves audiences laughing while celebrating the quirky, resilient characters that make Liverpool tick after dark.

Night Collar plays at St Helens Theatre Royal until Sunday 05 October. Tickets are available here.

Abi Kelly is a writer and theatre enthusiast who has studied both Drama and Scriptwriting. A lover of weird and wonderful stories, she’s usually found at home with a book in hand or deep in a theatre seat.