Till The Stars Come Down
Miner Differences
by Beth Steel
Putney Theatre Company at the Putney Arts Theatre until 26th September
Review by Heather Moulson
There is a deception in the simple open set for Putney Arts Theatre’s Till The Stars Come Down, in its painted images of coal miners against the soft pink lighting. A rotating mirror ball adds needed glamour, but it’s a clever paradox when set against a backdrop that shows stark black and white images of miners and former collieries in Nottinghamshire.
The cast speak impressive and authentic accents, as the three sisters, who form the core of this Nottinghamshire family, come to light. Maggie, debt-ridden and commitment shy, is engaging played by Lizzie Iredale. Sarah Perkins brings out the punchy satire of the broodingly angry and racist Hazel. Then there’s the radiant bride Sylvia, in a likeable performance by Emily Kate Dixon. Prominent in this extended family is Aunty Carol, a glamorous and earthy force, played by Jodi Rilot, as a perfect combination of a figure both funny and tragic.
Compared to these strong women, the men initially came over hapless while harbouring an undercurrent of resentment and other issues. Aaron Thakar’s Marek, like his co-stars, also conveyed an authentic accent. A Polish groom thrust into a stormy family, he keeps his sincerity while marrying into a completely different culture. But, envy him not!
There are questions hanging over this wedding ‘do’. Why had the two brothers not spoken for 37 years? What was Hazel’s resentment about?
As the girls’ father, widower Tony, Paul Bradley cuts a sympathetic figure. While Roger Blitz as Pete is loveable if rough, with a harboured grudge. Hazel’s husband John, played by Tom Thornton has stirrings of his own.
One feels it’s hard for the male actors to keep up with the strong performances of the sisters, but they are comfortable in their roles.
Catalyst to the emotional dynamics of the plot is the adolescent Leanne and Zoe Pearson tkes up the role with good stage presence. Sophie McGrath’s Sarah is convincing and provides some light relief. The team of Alexa Adam, Sophie Brown, Nathalie Heesom-Green, Sarah Kitchen, Libby Talberg and Helen Wood as the party guests, ambulance crew, cum chorus nicely notch up the tension.
All are aptly dressed, and credit goes to to the Emily Fletcher and consultant Simon Crump for costumes that are colourful and co-ordinated. Maggie’s high white heels are simply impressive.
Great and nostalgic music, including funk, sixties, and Techno-Pop was devised by production designer, Nick Wells. Rich and Kathryn Evans have created terrific and effective lighting against the curved set and mirror ball. However, the background party music, although very low key, does become distracting.
This strong production of Till The Stars Come Down has a very busy text and subtext, which director Frances Bodiam makes full use of. It is handled very well, with is deceptively complex writing with high points sinking down to very low depths, packed with despair, lies and loss.
Heather Moulson, September 2026
Photography by Jonathan Nenemann at Pexels.com
