Written by Shelagh Delaney in 1958 at just nineteen,
A Taste of Honey was a ground-breaking depiction of modern society, falling very much into the "kitchen-sink" genre, fast developing with writers within the world of British theatre during the fifties. Dealing with a multitude of themes including class, race, age of sexual consent, gender, sexual orientation and illegitimacy, it has rightfully become a legend of theatre. However, almost seventy years later, does this play still resonate with audiences and have a place in modern theatres?
The play, set in 1950s Salford, tells of teenager Jo and her mother Helen moving from one rough lodge to another as either rent becomes due or Helen needs to escape another failing relationship. With Jo approaching school leaving age, Helen sees the time is right to abandon her to the world and move on with her own life.
When watching A Taste of Honey, you can imagine the controversy surrounding its original release. The content is provocative, and even now, where the world has changed significantly for the better in many ways since 1958, the power still lies in the experiences of Helen and, most particularly, Jo at the centre of this story.
It helps that director Rosemary Hill remains faithful to the original story and world depicted with minor tweaking. Most importantly, it has two tremendous performances in those two leads with whom to work. Tayla Kenyon is a revelation as Jo, showing a sparky, youthful energy early in the story despite her life as it is. She is playful and delights in her time with her sailor boyfriend Jimmie, played beautifully by Brian Bisusu. Kenyon's portrayal in the second act also brilliantly depicts the decline in her personality as reality dawns and takes its toll on her body and mind. There is also a superb spark, for better or worse, with her mother, Helen, played with a spiky wit, and at times wickedness, by Caroline Nash. They are a tremendous pairing.
Geof, who comes into Jo's world when she is at her lowest, is played with a playful energy by Angus Roughley, but hidden behind those eyes is a world of confusion as he battles his sexual orientation demons. He wants to be the one to support Jo, whom he loves in many ways, but Jo struggles to warm to him in that way, until maybe it is too late. Finally, from the cast, there is Alexander J C Forni as Helen's rich and often drunk boyfriend Peter, and sadly, with such a strong cast surrounding him, he fails to impress. Unfortunately, his later scenes in the second act fail to portray the menace needed from the character.
Visually, James Smith created a perfect period set depicting the gritty and dingy lodging that Jo and her mother find themselves in. While the lighting also resonates with this, a few technical issues on opening night did distract on occasions from the mood.
A Taste of Honey resonates with audiences today and offers a window to a world that is now far removed from our society. With this production, The Play's The Thing has created a solid and evocative production of the classic, and it is well worth catching during its short run.
A classy production of a classic play. More than a touch of magic.
⭐⭐⭐⭐
Performance reviewed: Wednesday, 14th May 2025, at the Stantonbury Theatre, Milton Keynes.
Photos: Simon Raynor
