‘the perfect comic engine for a story about misplaced confidence and public money’
There’s something inherently comic about civic ambition gone spectacularly wrong and Taking the Piste leans into that instinct with gusto. Written by Kieran Lynn, the show mines one of Merseyside’s most bizarre true stories: the ill-fated 1970s Kirkby ski slope that was built from rubble, beset by safety concerns, and never properly opened.
From the outset, the tone is broad, fast, and unapologetically local. The premise alone – a council leader convinced that a ski resort is the key to regeneration in suburban Liverpool – sets up a satire of municipal overreach that feels both period-specific and oddly timeless with the fictionalised blustering council head chasing prestige and profit, becomes the perfect comic engine for a story about misplaced confidence and public money.
What works best is the script’s ear for regional humour. The dialogue is packed with sharp, knowing lines that draw heavily on Scouse wit: irreverent, self-aware, and quick to puncture authority. Lynn doesn’t just mock the council, he celebrates the community’s scepticism, embodied in the subplot involving journalists determined to expose the fiasco. This thread, based on real reporting around the ski slope scandal, adds a welcome layer of purpose beneath the farce.
Structurally, the play follows a familiar arc: big idea, mounting chaos, inevitable collapse. The energy rarely dips, and the production leans into physical comedy and caricature to keep momentum high.
Performance-wise, the ensemble embraces the heightened style while ensuring each character remains recognisably human. Geoff (Michael Starke) emerges as a particularly endearing figure: an easily swayed, lovable rogue who finds himself trapped by circumstances and ambitions far beyond his control. Opposite him, Councillor Storm (Paul Duckworth) is gloriously egotistical, a man so consumed by his own importance that he never realises he lacks the competence to match his confidence. Together they form an excellent comedy double act, generating some of the evening’s biggest laughs through their increasingly chaotic schemes.
Elsewhere, Kelly (Hayley Sheen) brings warmth and determination to the story, balancing fierce conviction with genuine charm. Derek (Elliott Kingsley) serves as the production’s moral backbone, a strong and kind presence who rallies those around him when defeat seems inevitable. Sandra’s (Holly Mimi Bernice) arc is one of the most satisfying, transforming quiet desperation into a passionate and carefully orchestrated revenge that earns its emotional payoff. Patricia (Vicky Binns), meanwhile, embodies greed and self-interest, representing those at the top who prosper by stepping on those beneath them. With her razor-sharp tongue and ruthless ambition, she becomes exactly the kind of character audiences love to hate.
Visually, the production is far more inventive than its modest scale might initially suggest. Jasmine Swan’s staging is cleverly designed around a rotating set that seamlessly shifts between locations and moments in time, maintaining pace. The authentic 1970s newsroom set dressing is particularly effective, grounding the action in its era through carefully chosen props and details. Equally impressive is the use of fly-in lighting rigs, which help establish mood, location and transitions with remarkable efficiency.
The technical elements contribute significantly to the show’s atmosphere. Jamie Platt’s soft, carefully judged lighting helps create intimacy in quieter scenes, while Kate Harvey’s subtle sound design adds texture throughout. Background pub chatter and ambient effects enrich the world of the play without drawing attention to themselves, lending a sense of authenticity to even the broadest comic moments.
The production’s playful visual style suits the material; after all, the real ski slope itself was something of an absurd construction – famously built without planning permission and ultimately deemed too dangerous to use. The show mirrors that sense of improvised ambition, turning limitations into part of the joke.
The story invites sharper commentary on political accountability and media complicity, but maintains the absurdity and comedic overview which makes this performance so engaging from start to finish. It really is a laugh a minute whilst also bringing a real piece of local history to life.
Ultimately, Taking the Piste succeeds because the truth behind it is so gloriously strange. It captures a moment when optimism, incompetence and local pride collided in spectacular fashion, and turns it into a lively, affectionate comedy. Supported by inventive staging, strong character work and a cast fully committed to the absurdity of the story, like the ski slope itself, it’s a memorable ride with plenty of ups and downs along the way.
Review Date: 24th June 2026
Star Rating: FIVE