The struggles of single parenthood, especially in working-class communities across Northern Ireland, are all too familiar, and with the ongoing cost-of-living crisis, it’s no surprise that such themes are starting to find their way into our theatres.

Martin Lynch’s new comedy musical, Thursdays With Elvis, currently playing at Belfast’s Grand Opera House after a short Irish tour, is the latest to tackle modern-day poverty. However, it does so with glitter, humour, and a generous helping of The King.

We’re introduced to Lana (Orla Gormley), a single mum battling the rising costs of everything from heating to her beloved Prosecco. With little left from her Universal Credit payments, nights out are replaced with Thursday night kitchen parties, where she dons her best and dances to the soundtrack of her youth. Joining her in these escapades is her best mate Miriam (Caroline Curran) – a chaotic Christian with a fondness for unavailable men and questionable home baking.

Lana tries to keep her chin up despite life’s challenges, but things take a surreal turn when Elvis (played by Norman Bowman) appears in her kitchen. Whether he’s a ghost, a vision, or a tribute act sent by her fanatical father remains unclear, but his arrival sets Lana off on a journey that could change everything.

At first, I was sceptical. The opening felt more like panto than play, with Gormley’s performance veering into the kind of exaggerated delivery that’s become a bit too common in local comedies of late. The early laughs mostly came from a few choice swear words, and for the first 15 minutes, I was worried this might be a long night.

But then came the music and what a difference it made. Gormley’s vocals are undeniably impressive, soaring effortlessly through classics like Aretha Franklin’s Respect and Etta James’ At Last. Her singing brings a depth to Lana that her dialogue initially lacked, making her feel more real and more grounded.

Caroline Curran, as ever, is a force to be reckoned with. She’s long been a standout in the Northern Irish comedy scene, and here she brings heart, humour, and impeccable timing to Miriam. Honestly, it felt like she carried the first act although it’s a shame her character wasn’t given more to do earlier on. When she steps into the spotlight in Act II, the show really hits its stride.

And then there’s Elvis. Norman Bowman is pitch-perfect in the role, with vocals that could genuinely convince you he’s been sent from Graceland itself. His energy and stage presence whipped the audience (particularly the Elvis-devoted pensioners seated near me) into pure delight.

Is Thursdays With Elvis the finest play Martin Lynch has penned? Probably not. But does it eventually win you over? Absolutely. It’s rough around the edges, yes, but there’s charm, heart, and genuine talent on stage. Stick with it, and you’ll leave the theatre smiling – and maybe even humming a bit of Suspicious Minds.

Thursdays With Elvis runs at the Grand Opera House until 12 April. Tickets start from £20.

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