Photo credit: AB Photography
‘The Big Day’ 2026 is on the horizon, and The Scouse Nativity: The Second Coming has landed at Liverpool’s Royal Court. Produced by the theatre, written by Kevin Fearon and directed by Nicole Behan, this is the festive tale as you’ve never seen it before. Imagine the nativity story, and then imagine that same story after its pages have been dropped in the Mersey and fished back out again, imbued with the wonders of Liverpool, and you’re part of the way there…
Angela Gabriel (Lindzi Germain) is after some new, bigger, wings to complement her diamante trainers. So she accepts a mission of biblical proportions to successfully stage manage the arrival of a very special baby into the world. Under the direction of Behan, and the watchful eye of ‘Ange’, a sparky and talented cast lead us, together with a Delta Donkey, through one of the best known stories of all time.
There are big shoes, or sandals, to fill; there’s been many a remake of this tale, and Fearon and Behan pull it off with plenty of pizazz. Fearon’s writing is very funny, with jokes for the locals, and for those that have followed the Radio City Tower from further afield, audibly delighting audiences throughout. Musical fans will be delighted by Ben Gladwin’s selection of tracks, from ballads to trance, it’s all in there, and beautifully performed by Adam McCoy (Joseph), Jess Smith (Mary), Germain (Angela), Lydia Morales-Scully and Tim Roberts (On Stage Swings), accompanied by a talented band. Pacing successfully carries the story on its important journey during the first act, however progress stalls slightly during a reality TV-esque re-imagining of the years following the nativity, before the celebratory final number chimes that ‘Heaven is a Place on Earth’: the theatre.
It’s a relatively small cast of characters and everyone shines. Special mention must go to the shepherds-turned-wise men who make some miraculously quick costume changes and wrangle with some alternative steeds, and whose energy still doesn’t drop a single degree throughout! Keddy Sutton’s comic timing and characterisation is standout, and Paul Duckworth has the baddie’s sneer and other dastardly tricks down to a fine art as he reprises the role of Herod. From her lofty position on-high, Germain fixes her position of one of the city’s stars, her Angela Gabriel bringing charm and calm to the comedic chaos one minute, and then belting out a party starter the next.
This triumph of a production is a real team effort and it’s clear to see, particularly when the stage managers have to rescue an actual sea, or prevent a heartbroken Joseph from destroying his witty workshop. Mark Walter’s set aids the movement of the plot between chapters, and Ian Scott’s lighting ensures that the funniest high street ever, as well as those ingenious expressions from Sutton, can be clearly seen.
There’s glitz, there’s gags, there’s even an octopus, but most importantly there’s heart, buckets of heart. The cast appear to be having a ball and they take us with them in their joy. As the nights draw in, and the world outside can often seem cold in many ways, The Scouse Nativity at Liverpool’s Royal Court is a reminder of the power of a really good night at the theatre.
Recommended for theatre faithfuls and newcomers alike aged 16+, as a reward at the end of a long day of shopping or a night out in its own right (the Royal Court’s pre-show dinner is highly recommended), The Scouse Nativity: The Second Coming should not be missed, and must be seen to be believed!
**** Four stars
Reviewed by: Lauren Wilson