The Richard Burton Company

Tracy, a Tesco’s employee, is after world domination in the form of a promotion. Her work colleagues, Tom and Gina, aid her in her life-long quest for perfection on the supermarket shop floor. It’s hard. In our second year at RWCMD, we were asked to write and stage our very own production. I wanted to create a monster: a woman who was not pretty, who was honest to the point of cruelty, exceedingly cringe-worthy, shameless … an absolute legend in her own right. I also wanted her to worship Tesco. And so was born Tracy.

Moments of comedy that will crease you up laughing -

Broadway Baby


Simple and entertaining, with laugh out loud funny moments – The Mumble

Performance Duration:
60 mins

£8 / £6


The Mumble
“With a great synopsis and a kind welcome from staff at the box office I was all set for a show I have been much looking forward to all week.

After a brilliantly awkward start, you could see that everything was going be taken all too seriously by the lead protagonist, and so was our introduction to Tracy. Brought to the stage by students at Royal Welsh College of Music & Drama in collaboration with The Richard Burton Company, the show was simple and entertaining, with laugh out loud funny moments.

Set in Tesco supermarket management offices, the show is written from Tracyメs perspective, an employee with David Brent-esque pretentions and few social graces. Tracyメs smart quips against her colleagues provide a burst of humour, especially against Gina her eager to please no doubt long-suffering assistant. The desperate power play between the characters is well produced, but a moment seeing Tracy taken to task by her superiors would have added some fun.

At 30 minutes its a short sharp laugh but a fine funny start to a sunny Sunday morning. The show has just a few days to run this week, so catch it now if you can."”
Broadway Baby
“Every Little Helps!

Tracy is the brainchild of second-year Royal Welsh College of Music and Drama student, Sophie Morgan-Price. As well as writing this short but sweet three-hander, she plays the eponymous character, a tenacious middle-management Tesco employee. She loves her job - the power, the price drops, the potential for promotion. The character of Tracy herself is well-constructed and her monologues can arrive at unpredictable, even uncharted, areas. The audience doesnメt need to agree with Tracyメs musings, but they may begrudgingly admit that Tracy, though improbably, is far from implausible. Essentially a one-woman show, the commitment that Morgan-Price has put into achieving this realistically absurd character is very impressive and makes her a fascinating figure within her mundane and humdrum territory.
From the beginning sequence, Sophie Morgan-Price sets herself up as a talented actress with a great command of the audienceメs attention and sympathy. The rest of the cast are very likable too. Supporting cast they may be (uncredited in the programme), Gina, her simple side-kick, and Tom, her mild-mannered nemesis and pseudo-paramour, both nevertheless present thoughtful performances from parts which could easily become shallow caricatures in less skilled hands.

There are some scenes of uncomfortable David Brent comedy, and perhaps some of the writing is indebted to Gervais - if only in the habit of taking its pauses as indulgently. Iメll admit Iメve never laughed at The Office, yet Tracy delivers a few moments of comedy that will crease you up laughing - as well as cringing. However, there are periods which are slow and little predictable. The structure of the play feels unfinished, but at the same time, the production seems to run out of steam two-thirds of the way through.

Tracy makes for a pleasant - if a bit uncomfortable - viewing experience, and with some moments of clever comedy and insightful writing, itメs an interesting production that will surprise and charm you.

Broadway Baby Rating: We gave this show 3 stars
Three Weeks Edinburgh
“Sophie Morgan-Price accomplishes something impressive here. Her writing, along with her portrayal of Tracy, is actually quite wonderful to behold. There’s something sound in Tracy’s ludicrous philosophy; her constantly bland, deadpan delivery gives her brash brand of feminism some bite. Her sense of grandeur and moral superiority, combined with her social obliviousness, sexual forwardness and propensity for awkwardness created some genuinely heartfelt laughs, but didn’t fail to be poignant. While slow in parts, ‘Tracy’ is wonderfully believable. Admittedly, the other characters are only objects of interaction for Tracy, but this does little to diminish the play’s surprising warmth. You won’t know what makes ‘Tracy’ such a charming little production, but its charm is undeniable.

Rating: 4/5"”