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From Real Conversations to Rom-Com Chaos: The Making of Daddy’s First Gay Date

Richard Beck Richard Beck
7 Nov 2025

We invited Sam Danson to tell us about the making of his play Daddy’s First Gay Date.

I wanted to write an LGBTQ+ story that’s uplifting and leaves the audience with some level of hope

When I decided to do a show exploring the nuances of dating, it felt natural to explore the idea that the show should follow a ‘rom-com’ structure; comedy feels like a great way of exploring the highs, lows and awkward moments. Then the romance part follows naturally, as it feels like in order for the show to feel satisfying, the date(s) would have to go somewhere or develop into more than just a surface-level encounter. Comedy definitely felt like the right way to explore this show, but it was important for the show-making process to also include authentic and frank discussions around the more serious issues we address.

The play’s themes were initially formed through workshops and conversations I held with various LGBTQ+ community groups around north-west England. We discussed the varying experiences of queer dating, focusing on the lesser acknowledged sides, and how experience of dating differs based on your age, race, gender and sexuality. The sessions we ran were with groups such as LGBTQ+ youth groups, elderly LGBTQ+ groups, trans social groups and pride clubs, capturing a wide range of age and lived experience. From these discussions I formed potential characters and storylines and had a better idea of what is missing from current stories exploring similar themes. I really wanted to capture specific stories, as well as any common experiences that everybody could relate to.

The show is a subtle parody of rom-coms, with the structure entirely following the same as 99% of rom-coms. Sometimes the parody is more exaggerated, such as the ‘grand gestures’ moment before the end. The rom-com genre felt interesting when applied to people and places rarely seen within that genre, especially as I wanted to explore a queer story with some form of a happy ending too. I wanted to write an LGBTQ+ story that’s uplifting and leaves the audience with some level of hope. It felt more necessary than usual given the negative state of global politics and divisions in society at the moment; coming to the theatre can be escapism for people living an otherwise stressful or difficult life. Queer stories in general are underrepresented, especially stories about bisexuality or racism within the queer community. We address both of those themes in this show. Whilst there are sometimes (and rightfully) tragic or dramatic stories around those themes, it feels important for there to also be a place for those people to see themselves represented in a positive light too.

If a certain group is rarely seen on stage, it’s the responsibility of writers and programmers to ensure that when that experience is shown on stage, it is varied in its presentation, i.e. not always a tragedy, a stereotype or a flippant role. Too many times in the past, queer people have been represented in shows by a one-dimensional stereotypical character, but this doesn’t feel like representation for most members of the LGBTQ+ community. There’s a misconception sometimes that having any form of queer character in a show means that that show represents the queer community, but we need to see the variety of that community more often. A white gay character won’t necessarily resonate with trans people or people of other sexualities or races; therefore, those people could still feel unrepresented, despite some simply seeing it as “gay character = queer representation = box ticked.” This is why in this new show it felt important to capture a range of experiences, some of which are very different from my own.

When writing those stories that I’ve got no lived experience of, it’s important to research and listen to those who have lived those stories. Again, this is why the discussion sessions at the start of the process were important, but it was also crucial to work with somebody closer to those stories too. This is one of the many reasons that I wanted to work with Rikki Beadle-Blair again (we collaborated on my first show BI-TOPIA). Rikki’s experiences of queer life from the perspective of an older generation of Jamaican heritage were crucial for this show to be successful because it allowed me as a writer to constantly have somebody to talk to about the show’s themes and learn so much more about the common experiences he’s faced. Rikki also sets up a very safe space which allows me as a writer to explore the character’s story freely, and then Rikki offers invaluable feedback on whether I’ve managed to capture that sort of character authentically. I also cast Dior Clarke in the role of Tim (a black gay man from London) before fully writing the show. This allowed me to get to know him as a person more and allow him to help me navigate the process of writing about that lived experience.

Daddy’s First Gay Date now feels like it truly represents each character’s lived experience, and therefore resonates with a far wider selection of people than it could do if I had just written this show completely alone with no research or mentoring along the way.

It’s chaotic at times, at other times heart-warming, but it’s fast-paced, camp and enjoyable.

Richard Beck

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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