A framed picture of Corrie hangs above the serving hatch and there's a speak-easy vibe to proceedings.
When a little girl stands at the microphone after fiddler Jennifer Reeve has introduced Corrie's play and starts singing sweetly about hanging black-legs, before the seven-strong cast of this thrilling new take on the play dance in vigorous unison to a thunderous indie-folk arrangement of one of Corrie's songs, you know it's as vitally contemporary and as far removed from old-time melodrama as is possible.
Director and adaptor Graham McLaren has put music and dance at the play's heart, with a live soundtrack, composed and performed by Michael John McCarthy's four-piece band, and Imogen Knights' choreography crucial elements that display how song and dance can bind people. The story itself, about a family torn apart by the strike, is gut-wrenchingly emotional, and there are wonderful performances from Hannah Donaldson and Owen Whitelaw as the central couple.
While never overplayed, watching archive film footage of the pitched battles between police and miners during the Battle of Orgreave in the 1984 miners strike brings Corrie's message chillingly home, as does the closing rendition of The Red Flag. Anyone who thinks the song an anachronism should witness this version, which is by turns mournful, defiant, furious, triumphal and the most necessary song of today.