Lynn Faces

In a few turned corners and a slight trek through and across Norwich Theatre Royal, Stage Two, a small but mighty extension of the main building appears. My very first thoughts upon seeing it for the first time were “Where the hell is a stage fitting in here!”, an ignorant notion that soon drifted off with the light, cold breeze as I entered the building and what was, a great show.

Writer and multi-award-winner Laura Horton had this show in the works for decades before it was brought to fruition. Thankfully, after a 10 minute showcase at Summerhall - as part of the Edinburgh fringe - in 2023, Laura got to conversing with multiple theatres, namely, Norwich Theatre, Theatre Royal Plymouth and New Diorama Theatre. Thanks to their support and some crochet crowdfunding, Lynn Faces came to the stage in all its glory,

Lynn Faces follows almost 40 Leah, recently separated from what we eventually learn was an abusive and coercive relationship with a lowlife named Pete. Inspired by assistant to Alan Partridge and oftentimes described underdog, Lynn Benfeild - Leah introduces her disorderly punk band named Lynn Faces. With recruited longtime school friend Ali, and enthusiastic school teacher Shonagh, they perform (though, I use that term loosely) lyrically chaotic tunes at a pub adorned with Lynn masks in honour of their collective icon.

Eventually, with a punk middle finger to the face, the show began with an off-tune beat, and questionable lyrics that elicited a choir of laughter around the stage. Despite the compact setting, the staging and few rows of seats managed to actually emulate a pub - bar the beer soaked and indefinitely sticky table tops - it truly felt like a Saturday at your local pub that hosts spontaneous gigs. More than once during this show did I make direct eye contact with the phenomenal actresses Madeleine MacMahon (Leah), Peyvand Sadeghian (Ali), and Millie Faraway (Shonagh). The small space allowed them to interact with the audience more and take part in some crowd work to ease the more awkward moments, of which there were many. It felt personable and comfortable. With that, the first few songs end with a declaration that Lynn Faces is all about, and I quote: “taking back control” and the underdogs becoming the bosses.

Undeterred by the comedic and ridiculously entertaining songs that encompassed vulgarities such as “sex fingers” and “assholes”, the more serious topic of domestic abuse was continually spotlighted. It was in those moments, a balance was achieved whereby the constant comedy was brought to a momentary halt, one that let the audience connect with Leah, Ali, and Shonagh on a deeper, more emotional level. Intrinsically, whilst their musical performance left a lot to the imagination, there was a catharsis found within their songs. Although they are not entirely lyrically inclined, it is apparent that this, for them, is an expression of built up frustration and anger. The songs featured lines pertaining to breaking from the confines of control, taking back what’s yours, and liberation. A truly heartwarming sentiment as Leah explains more about her harrowing relationship with abuser Pete and finding herself again. It seemed as though their performance was channeled through the emotional conflict brought forth by Leah’s personal experiences of abuse and coercion.

It was a brilliant demonstration on what detriment the self-doubt caused by abusive verbiage can do, and that no matter the age, or at what point you are in life, you will always find a way back to yourself in true, confident and healing, Lynn Faces fashion.