⭐⭐⭐ (Three Stars)

Written and directed by Jamie Eastlake, Gerry & Sewell started its life as a small-scale pub theatre production in Newcastle. The play struck a chord with local audiences and provided representation for a community not often depicted on stage, leading Gerry & Sewell to its current run at London’s Aldwych Theatre. However, despite many positive qualities, it seems something has been lost on this journey from intimate pub theatre to the West End.

Gerry & Sewell follows two Geordie lads who go on a mission to save up the money to buy season tickets for their beloved Newcastle United by any means necessary. The opening scene, which sees the audience given large flags to wave and cheer with, while being encouraged to film on their phones as a group of hooligans take to the stage, builds an energetic atmosphere in the auditorium and is a really engaging and exciting way to start the play. However, as the production goes on, it begins to feel increasingly confused and loses much of the momentum it establishes in its opening moments. The stakes of the main plot about raising funds for football tickets don’t feel high enough, and the levity and humour of this storyline contrast with the serious subplot about Gerry’s home life, leading to an inconsistent tone throughout. Additionally, the plot isn’t always communicated clearly, resulting in further confusion: several people around me were asking each other in the interval what was going on, as they were also finding it difficult to follow.

Despite being a play, there are moments when the production seems unsure whether it wants to be a musical. There are several songs where it is unclear whether they are being performed diegetically or not, as well as a couple of dance numbers - including one involving a kick line. While these moments are entertaining and well-performed, they feel out of place and confusing. Eastlake’s writing proves crowd-pleasing, although it occasionally relies a little too heavily on swear words for its humour. The script has been updated for Gerry & Sewell’s new West End home, with some very funny references, including nods to Tina Turner (the subject of the longest-running show in Aldwych Theatre history) and Rusty (the puppet dog) initially being mistaken for another puppet of the Peruvian bear variety that can be found at the Savoy Theatre just down the road from the Aldwych.

As the titular characters, Dean Logan and Jack Robertson bring plenty of tongue-in-cheek humour and deliver some great physical comedy moments. As Gerry, Logan also taps into the more serious elements of the character as he grapples with conflict and abuse within his family. Robertson, as Sewell, has many of the play’s funniest moments, often breaking the fourth wall, such as when he enters wearing a massive wig and, upon being asked why, simply replies, “It’s a flashback scene, man.” They are also joined on stage by a puppet dog the characters adopt, which is brought to life brilliantly, as well as a large ensemble of hooligans who bring lots of energy.

Gerry & Sewell finds many opportunities to celebrate its Newcastle setting and roots, including an unexpected but enjoyable nod to Cheryl Cole, who appears briefly in her iconic Fight For This Love costume. Many of the more specific football references went over my head, but others in the audience were clearly revelling in them. Newcastle is also evoked through Power Props’ (Richard, Rosie, and Joe Power) excellent set design, with the Angel of the North overlooking the action from the back of the stage. The set also features an impressively realised, graffiti-covered train that enters the stage on several occasions throughout the play.

Overall, there is much to praise about Gerry & Sewell in isolation. However, as a whole, the production lacks consistency in tone, which ultimately prevents it from fully realising its potential.

Gerry & Sewell runs at Aldwych Theatre until 24th January 2026.

Tickets Available Here