Nick Maylan, chief executive officer of Sunderland Culture, asked me, in the nicest possible way, why on earth I had come from London to see Public Record. The short answer was that I was invited by the National Theatre (very much in London) to review. The slightly longer answer is that I enjoyed previous iterations of Public Acts, the NT’s community programme, so I was curious to see this original piece of theatre. That, and I happened to have the weekend when this show was being put on available. This is an era where, presumably due to belt-tightening in an economy that – whatever the underlying causes may or may not be – requires it, there is an increase in shows with smaller casts. So, it’s an even more unique experience to see something presented by a giant cast – I counted ninety-five on stage, and no doubt that number rises comfortably into three figures once the backstage crews and creative team are taken into account, and further still if front of house and bar staff are included.
Given this was a show presented by the people of Sunderland for the people of Sunderland, I take the unusual step of mentioning my brief experiences of the city before seeing the show. I had a longer wait than I had expected to be seated in the hotel restaurant, though this was because there was a large group placing multiple orders. It transpired this happy bunch were not, as I suspected, dining and drinking in the hotel as part of a wedding, but as part of a funeral. It’s the sort of thing I would imagine a lot of people would like after their time is up – friends and family exchanging happy memories and having a good time. It tied in well with Public Record, which makes a point of mentioning Greggs – I couldn’t help noticing there are two branches in the city’s Bridges Shopping Centre alone (Google Maps suggested I walk through the mall to get from Sunderland railway station to the hotel). I have also, at last, seen the Sunderland Empire with my own eyes, a theatre which often appears on touring production calendars – and the Empire is worth mentioning here because of their involvement with the making and producing of Public Record.
The framework for the show was that this was a ‘live recording’ – one take, without stopping for retakes or even an interval. It’s briskly paced: let your mind drift off, even momentarily, and you’re bound to miss something. I wondered if I would be able to follow proceedings, not knowing much about Sunderland, other than that the local football team once had a player sent to prison for criminal offences. That, of course, was the sort of thing the huge cast did not want committed to permanent memory, thanks very much – along with other aches, pains, hurts, discomforts and avoidable tragedies.
I needn’t have worried about being an outsider: everything was explained. A ‘track’ (there were twelve in total) called ‘Death Certificate’ was about buildings and landmarks that were either knocked down or otherwise converted to something else, and not about deceased people. A rendition of ‘Can’t Help Falling in Love’ was included, because it’s sung at every Sunderland AFC home game (or so we were told). I learned after the show that – apparently – Hull City also sing it regularly. I guess the ‘you’ in the song must mean the football club being supported.
I also hadn’t realised there is a significant Nigerian community in Sunderland, as well as an Indian one – both Bollywood and Nollywood were recognised in one of the large-scale ensemble song and dance numbers. I discovered later that the Redeemed Christian Church of God, a Protestant denomination headquartered in Nigeria, has several parishes in Sunderland, and the University of Sunderland has a Nigerian Student Society. The show was, even if this wasn’t its primary purpose, a proverbial middle finger to those who think multiculturalism can never work: here were people from all over (even Newcastle: the rivalry between the ‘Geordies’ and the ‘Mackems’ extends at least as far back as the English Civil War) moving to the same rhythms, dancing to the same songs, singing the same lyrics.
A lovely tribute was made to local singer-songwriter Faye Fantarrow (2002-2023), who had two diagnoses of leukaemia in her formative years, only to be diagnosed as a young adult with a rare and aggressive brain tumour. She wasn’t in ‘Death Certificate’, but was recognised in the track that followed it, called ‘Tribute Act’. Dave Murray, known as the Mackem Folk Singer, was given a solo number. This was truly a show featuring the voices of people of all ages – a nonagenarian’s voice was heard at the start of a track called ‘Birth Certificate’, which ended with the cries of a newborn baby recorded moments after delivery by a nurse working a shift the previous evening in the maternity unit at Sunderland Royal Hospital.
I was totally engrossed in proceedings from beginning to end – even the bit about births, deaths and marriages records going back generations held by Sunderland City Council, which I had next to no interest in, although I accept there is ongoing intrigue into people’s ancestry. Some poignancy, some storytelling, and one heck of a lot of energy – this compelling and multilayered portrait of Sunderland is utterly sublime.
Review by Chris Omaweng
We’re here to make a record.
It’s going to sound like this city.
It’s going to sound like us.
And it’s going to last forever.
A community comes together to record an album. To make a record of who they are, what they’re about, where they’ve come from and where they want to go. It’s about life and loss, memory and love, the things we choose to remember, the ways we choose to let go. There will be music and dancing, karaoke and DJs, a knockout house band and a massive disco ball.
Community Company Dominic Adebua, Fola Adebua, Sola Adebua, Faithful Airhunuoje, Victory Airhunuoje, Olive Albert Irabor, Angelica Anthony, Maisie Blackwell, Michelle Borwell, Deniece Clarke, Samual Cole Linfoot, Joseph John Cooke, Jo Cooper, Fiona Crosbie, Katerina Cuciniello, Matthew Drummond, Folasade Fasoyiro, Samuel Fasoyiro, Sara Fasoyiro, Cheryl Francis, Amelia Gleghorn, Momoreoluwa Gbenga-Martins, Olugbenga Gbenga-Martins, Amber Louise Hauxwell, Ava Hauxwell, Liz Highmore, Amy Hope, Ray Hopkins, Dan Howe, Hillaria Irabor, Arran Kirby, Kerri Lawson, Tedra Linus, Kate Longstaff, Sonia McDonnell, Ben Mason, Sandra Naglis, Lilicent Ogalanya, Blessing Opatoyinbo, Winner Opatoyinbo, Wonder Opatoyinbo, Diane Phipps, Bethany Raine, Lily Richardson, Gavinder Singh Srai, Ella Stubbs, Molly Leigh Thomson, Steven Udale, Chigozie Divine Ugah, Natasha Ward, Ann Wills and Harry Wynne
Professional Dancers Rob Anderson, Rosie Macari and Michaela Wate
Guest Artists DJ Banko, Sophie Lisa Beresford, DJ Bykonz, Barry Hyde, DJ Infinite and Dave Murray
House Band David Brewis, Peter Brewis, Sarah Hayes and Ross Millard
Dance Jam Arran Atwater, Lula Backhouse, William Benjamin, Nola Davies Harrison, Una Davies Harrison, Honey Davies Smith, Lily Davison, Lily Deehan Hughes, Minee Dobell, Lucy Doran, Coby Heron, Ella Herron, Mary-Isobel King, Sky McDermott, Amber McIntoch, Murran Olsen, Thea Remi Olsen, Erin Swinney, Leila Ward and Isla Wilson
Young Musicians Project Caleb Adams, Scarlet Cullen, Amy Curtis, Arthur Gledhill, Elliot Gldhill, Isabel Maria Johnson, Lily McCann, Ami McGuinness, Ethan Regan and Paige Smith
Director Emily Lim
Co-Director and Choreographer Dan Canham
Composer and Musical Director Ross Millard
Writer Stewart Pringle
Designer Hannah Sibai
Lighting Designer Nao Nagai
Sound Designer Jeremy Bradfield
Associate Director Luca Rutherford
Associate Choreographer Alicia Meehan
PUBLIC RECORD
The Fire Station, Sunderland
25 to 27 April 2025
Reading this review has brought tears to my eyes. As Adebua Sola, a cast member of “Public Record,” I’m overwhelmed with emotion seeing our work so beautifully captured in words. What makes this production even more special is that I shared this incredible journey with my son Dominic and my daughter Fola, who at just 4 years old is the youngest cast member in the production.
The reviewer’s understanding of how we portrayed “real, authentic conversations” is exactly what we hoped to achieve. Having my children alongside me in this deeply meaningful work has been one of the most profound experiences of my life. Watching Fola, at such a tender age, contribute to telling these important stories about our community has filled me with indescribable pride.
When the review mentions the “exceptional cast” and how we created those raw, intimate moments, I feel such gratification knowing our family was part of bringing these vital stories to light. The Fire Station in Sunderland has become like a second home to us during this process.
Thank you for this thoughtful review that so perfectly captures what we poured our hearts into creating. This production will forever hold a special place in my heart – not just as an artistic achievement, but as a precious memory shared across three generations of my family.
Our Sunderland-Nigerian family group members and their children truly shone in “Public Record,” a show created by the people of Sunderland for the people of Sunderland. They made us proud by being part of this vibrant project that celebrates the city’s diversity and sense of community. The show seamlessly wove together stories, songs, and dances, showcasing Sunderland’s history, culture, and people.
What struck me was the city’s sense of community and celebration of diversity. As an outsider, I was worried I’d struggle to connect, but the show’s energy and explanations made it easy to follow. A touching tribute to local singer-songwriter Faye Fantarrow resonated deeply. The show’s message of unity and inclusivity was powerful, with people from different backgrounds coming together, moving to the same rhythms, and singing the same lyrics.
The celebration of multiculturalism was evident, particularly in the recognition of Sunderland’s Nigerian and Indian communities. The show even featured Bollywood and Nollywood-inspired performances, highlighting the city’s cultural diversity.
What warmed my heart was how the show inspired my children, making them feel more relaxed and welcomed in the community. They’re now excited to join the theatre group, which has given them a sense of belonging. It’s wonderful to see how “Public Record” brought people together, fostering a sense of unity and inclusivity in Sunderland.
I too traveled from London to see this show. It was definitely worth the journey. Great joy and energy and my mind boggled at the logistics of undertaking such an ambitious concept to its fruition. I am sure that for many of the cast this was a defining experience, especially for the young people and children.
It’s such a shame that the National Theatre is not going to continue to support the brilliant and important work that Public Acts have been doing across the country. As a Geordie friend who was with me at the show said, “How will the National Theatre live up to its name now?”.