Written By Phil Olsen
Directed By Sam Allan.
If my memory serves me, back in the dim and distant past, finding love meant a chance meeting in a shop, being introduced by friends or perhaps answering a lonely hearts advert in the local newspaper. Fast forward to today and many relationships begin through a screen, with dating apps and zoom replacing face-to-face conversations. Phil Olsen’s Love or Best Offer embraces that modern world, telling the story of four people searching for companionship, laughter and perhaps a little romance along the way.
Originally set in America, The Grange Players have wisely relocated the action to the UK. It’s a subtle change, but one that immediately makes the humour and situations feel more familiar. Directed by Sam Allan, this production captures all the awkwardness, hope and excitement that comes with putting yourself out there in search of love.
The first thing to catch my eye was the set, also designed by Sam Allan. At first glance it appears to be a simple split stage, with Cheryl’s bright white Ikea styled home contrasting beautifully against Stan’s much darker black Hobbit like interior. However, look a little closer and you’ll spot two further apartments tucked away at either side, belonging to Dave and Lori. All four are beautifully dressed with furniture and props that perfectly reflect each character’s personality. I particularly loved Dave’s poster – it really took me back! Yes, I know reading that back it sounds rather complicated, but honestly it isn’t. It works brilliantly. Throughout the evening the audience is effortlessly guided from one home to another, allowing four separate stories to unfold without ever becoming confusing.
For much of the evening Cheryl and Stan don’t actually meet. Instead, their relationship develops through video calls, chatting via their laptops from opposite sides of the stage. I wondered whether that might create a barrier between both the characters and the audience. Would we ever really believe in their relationship if they weren’t physically together?
Well… I needn’t have worried.
Perhaps this is simply what dating looks like nowadays, with conversations happening behind one screen or another. I wouldn’t know! What I can say is that after ten minutes I’d completely forgotten they weren’t sharing the same room. That’s a real credit not only to Phil Olsen’s writing, but also to Sam Allan’s direction and four performers who made every conversation feel genuine.
Joanne James is wonderfully engaging as Cheryl. She gives the character warmth, confidence and a lovely sense of humour, making her instantly likeable. Whether delivering a witty comeback or revealing Cheryl’s more vulnerable side, Joanne keeps the character believable throughout. You genuinely want things to work out for her.
Opposite her, Carl Horton gives Stan an easy-going charm that suits the character perfectly. There’s an awkwardness about him that feels completely natural rather than exaggerated, and Carl allows Stan’s confidence to grow as the story develops. Watching the relationship slowly blossom between Stan and Cheryl is genuinely enjoyable, despite most of it happening through computer screens. Giving CPR to a fly will stay with me for a long time! Thanks Carl, I really enjoyed your performance.
Jill Simkin is equally impressive as Lori. She combines excellent comic timing with a warmth that makes the character feel authentic. Lori could easily have become a stereotypical larger-than-life comedy role, but Jill ensures she remains believable, giving the audience plenty to smile about whilst also revealing the person beneath the humour.
Ray Lawrence completes the quartet as Dave with another confident performance. Ray clearly enjoys the role, bringing plenty of laughs without ever overplaying the character. His interactions with the rest of the cast feel relaxed and natural, helping to create an ensemble that works exceptionally well together. I’ve had the pleasure of watching Ray perform four times this season, and every role has been memorable and completely different from the last. Congratulations, Ray – loved the dressing gown.
What impressed me most throughout the evening was the chemistry between all four performers. In a play built almost entirely around conversations and relationships, that chemistry is absolutely essential, and every member of the cast contributes towards making those relationships feel genuine.
One aspect that certainly shouldn’t go unnoticed is the sheer number of costume changes. The first act alone contains ten scenes, many requiring different tops, shirts or complete costume changes. I genuinely lost count of how many wardrobe changes there were by the end of the evening, but they were all handled seamlessly. It’s one of those things audiences often take for granted, yet it requires a huge amount of organisation backstage.
Talking of backstage, Dawn Vigurs deserves recognition as Stage Manager. With four separate playing areas, frequent scene changes and those numerous costume changes to coordinate, everything ran smoothly from beginning to end.
Stan Vigurs’ lighting design also played an important role in keeping the production flowing. With multiple locations visible at the same time, the lighting subtly guided the audience’s attention exactly where it needed to be, ensuring the transitions between conversations felt effortless.
Sam Allan deserves enormous credit for bringing all of these elements together. Directing a play where conversations overlap, characters occupy different spaces and the central romance unfolds almost entirely through video calls can’t have been an easy task. Yet the finished production feels relaxed, natural and never overcomplicated. The pacing keeps the laughs coming while still allowing the quieter moments to breathe, and by the final scenes the emotional investment in these four characters feels completely earned. I also particularly enjoyed the blocking, as in the movement on stage – odd things to say but bear with me. As Stan and Cheryl grew closer emotionally, they gradually moved closer together on stage. They were still separated, yet somehow not, and that visual representation of their developing relationship worked beautifully. It may be a very theatrical thing to notice, but it was one of those subtle directorial choices that added an extra layer of storytelling and really stayed with me.
Love or Best Offer isn’t trying to be a big spectacular production, nor does it need to be. Instead, it’s a funny, charming and surprisingly touching comedy about ordinary people hoping to find happiness. I arrived slightly sceptical about whether a romance conducted through laptops could really work on stage. By the end of the evening I’d forgotten all about my initial concerns and simply enjoyed spending time with four wonderfully believable characters.
The Grange Players have produced another enjoyable evening of theatre, filled with warmth, laughter and performances that keep you smiling long after the curtain falls. If you’ve ever wondered whether online dating could provide the basis for a good comedy, Love or Best Offer might just convince you that it can. Now back to Lord of the Rings..
Reviewed by – David T.
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