The Other Side of the Net
Ripon Arts Hub April 23rd-26th 2025
Reviewed by Debbie Rolls
Tennis seems an unlikely subject for a musical. Two people, a net and a ball, sounds limiting. When I heard the musical focused on a series of high-profile grand slam matches, competitive in the extreme, I was even more cautious, being more of a take part and enjoy the game person. My reservations were completely unfounded. This is a show with good characterisation, geographical and emotional breadth, brought to life by well written songs.
The show, performed by sixteen actors, includes sixteen new songs and a live acoustic band. It focusses on the battle between Stella Myers from the USA and Rose Winterburn to win a series of major tennis trophies. Each player might make history. Stella wants to the first female player since Steffi Graff to win a calendar grand slam. Rose Winterburn wants to be the first British woman to win Wimbledon since Virginia Wade. At risk is personal and National pride.
Last year’s ’All Those On Board’ saw Emily Roberts share her love of lidos and swimming. She is clearly also a great tennis fan. The programme notes reveal that she had been inspired by a recent visit to Wimbledon, but a love of the game has always been a part of her life. The show is dedicated to her mother who clearly taught her to appreciate the intricacies of matches as well as giving birth to her during Wimbledon Fortnight, ensuring it would always be a special time of the year for Emily.
Elle Kay-Coles as Stella brings a strong presence to the stage. She embodies determination, sometimes fueled by aggression, whilst she is also able to show gentleness. The strength comes across in songs such as Pressing Times whilst Hotel Room gives a more vulnerable insight. Kay-Coles’s strong voice is perfectly matched to such a forceful personality. Emily Briscombe as Rose is more reserved and professional. Her lighter, clear voice offers a more refined approach to singing and tennis. In the song Strawberries and Cream, a duet with Rachel Warren who plays her mother, she also shows emotional depth. The two tennis players sing well together in several songs, starting with Beat(s) Me in the opening act.
The stars shine but this is very much an ensemble piece. None of the songs are solos and many involve large groups, if not the whole cast. Everyone pulls their weight in this performance. It is was good to see more younger and male performers in this year’s production. The musical accompaniment is provided by cast members who also act and sing. Emily Roberts has not only written, directed and choreographed the show but also takes the part of a sports commentator and plays the piano.
The staging is simple but effective. A small tier of seating provides a spectator's area for all the tennis games. A display board on the wing reveals location. An ITF (International Tennis Federation) logo remains constant whilst the logo and name of the local tennis federation changes. You never see the whole court, only one player, with the player in the spotlight switching as players change ends. This is a master stroke in terms of choreography. My fear had been that the tennis moves might look clumsy, uncoordinated or false. However, once the ball and other player are removed, it is easy to believe that these are real serves, deliveries and back hands.
Narrative comes from the journey across the world, relationships (particularly between the players’ parents) and an examination of the pressures placed upon competitors. This is a show about tennis that touches upon much larger issues. The role of the media is considered in many forms: sports commentary, press interviews and the constant barrage of social media. The internet is as present as the net on the court. The show draws upon various theatrical traditions, surprisingly including bedroom farce at one point.
The representation of each country visited, Australia, France, England and USA, could have become stereotypical. An early song is called Stereotype and sees the Melbourne cast challenging common assumptions about Australians. The line ‘We eat indoors as well as BBQs’ stuck in my mind. La Ville D’Amour did seem to follow common perceptions about Paris but given that it accompanied a developing love story it was understandable. British Summer, which opened the second act was very tongue in cheek and entertaining. I Love NY was a grittier number and avoided any of the frustration that many of us might feel with the USA by concentrating on this one city.
The choreography is varied and draws upon exercise as well as dance routines. Emily says that she was inspired by the potential for tennis racquets for choreography, but she uses many different accessories including giant exercise balls, picnic hampers and blankets. It is not until the finale that tennis racquets really come to the fore. Both of the stars thank their fans for supporting them, and the audience, who had been asked to cheer for different characters at different points in the action, felt we were also being thanked. The musical ends by encouraging us to consider what can unite people in sports despite the competitiveness that divides them.
I went to High School in Wimbledon. Tennis fortnight for teenage me was often about the frustration of delayed buses and full pubs. I can’t help feeling that I would have appreciated it more if there had been fringe events with shows like this; enabling me to reflect upon and appreciate tennis. It would be lovely if this show could be staged alongside a tennis tournament.