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The Revival of a Maligned Masterpiece When Steve Hanley joined Manchester post-punk group the Fall, he expected to be playing bass guitar, not the pope on the London stage. But as a cast member of Mark E Smith's 1986 play 'Hey! Luciani: The Life and Codex of John Paul I', Hanley donned a full pope suit with seven layers of cassocks and took center stage. The Turbulent History of 'Hey! Luciani' In December 1986, 'Hey! Luciani' ran for two weeks at Hammersmith's Riverside Studios. Smith, the Fall's iconoclastic vocalist and lyricist who died in 2018, described it as 'a cross between Shakespeare and The Prisoner'. However, critics were less than impressed, with the Guardian deriding it as a 'thoroughness of Smith's failure'. The Data Behind the Reboot The original play was written on beer mats and delivered to Riverside in a shoe box. The play's thesis was allegedly based on David Yallop's 1984 bestseller 'In God's Name', which alleged Pope John Paul I's assassination. The 1986 production featured non-professional actors, including performance artist Leigh Bowery. The Impact of 'Hey! Luciani' on the Art World 'Hey! Luciani' is a classic example of postmodern storytelling, with convoluted narratives and the erasure of differences between high and low art. Graham Duff, the director of the reboot, believes that the play's cryptic nature is intentional, highlighting the Vatican's bureaucracy and the power struggles within. The Future of 'Hey! Luciani' If the June performance is successful, Duff hopes that his version might get picked up by one of Manchester's bigger arts institutions. For Hanley, the bassist who played the pope in the original production, the evening's success will be measured by his ability to avoid getting arrested.

LeadThe Guardian’s review of Heartsink critiques Sean Turner’s new stage drama that follows Dr Jeffrey Longford (Aden Gillett) as he transitions from physician to terminal‑cancer patient, exposing tensions between medical authority and patient vulnerability.The Play’s Premise and Moral QuandariesSet in a London NHS clinic, the narrative uses “heartsink” patients—those who drain clinicians’ emotional reserves—to explore:the ethical friction surrounding euthanasia,the impact of digitalisation on doctor‑patient interaction,the gender‑neutral redesign of hospital spaces.Critical Assessment of Writing and DirectionReviewer Farine Clarke, herself a doctor‑turned‑patient, argues that the script remains “brief and simplistic,” with jokes about artificial intelligence feeling “off‑the‑cuff.” The pacing is described as “slow,” diluting the urgency that similar NHS‑focused plays like Tiger Country achieved.Performance HighlightsAden Gillett as Dr Longford delivers a pedantic, complaint‑laden performance that borders on Luddite caricature.Megan Marszal as receptionist Suzie provides the only consistent “gallows humour,” though it falls short of genuine wit.Kathy Kiera Clarke (of Derry Girls fame) adds a quirky edge as hypochondriac Cara, briefly hinting at supernatural possibilities.Vikash Bhai offers a gentle counterpoint as a younger GP looking up to Longford.Heartsink’s Place in Contemporary NHS DramaWhile the play raises relevant debates about resource‑strained NHS care, it lacks the “necessary compromises” and “urgency” found in earlier works. The reviewer notes that the dialogue often feels “crude” and the characters “flat,” limiting the audience’s emotional investment.Future Outlook and Audience ReceptionRunning at Riverside Studios in London until 10 May 2026, the production may attract theatre‑goers interested in medical ethics, but its mixed critical reception suggests limited longevity beyond the current run.