Not the longest-titled show at the Fringe, but surely in the top ten,
A gem on every level; a theatrical joy that with humour pulls at the heartstrings.
The company points out that ‘the play is not a coming-out story, it is not a gay tragedy, and it is not porn. It is life through the lens of a queer young man, navigating masculinity, Grindr and an institution that is rife with shame’. Johnny (Ned Blackburn) is 18 and in his final year. That he has survived so long is remarkable. As a flaming homosexual and devotee of Britney he is hardly the best fit in an all-boys school, but then there are those who keep their inclinations secure in the changing-room locker. Harry (Will Walford), is a confident, charming, rugby lad. He insists, of course, that he’s not gay; he just like to fuck boys, in the plural, constantly. Johnny is not complaining. It’s what he is good at; actually the only thing he’s good at and he can't get enough.
Blackburn wrote the play that is jointly and tightly directed by Meg Bowron and Joshua Stainer, carefully mixing the paces to ensure attention never falters. That we've all been through school, even if not a boarding school, means that there is plenty here with which we can all identify; fellow students, eccentric teachers and, for some, the school chaplain. Walford plays these and others, gifting them with distinctive voices and behavioural idiosyncrasies that mix scenes of sometimes tense and awkward situations with humour that Blackburn has so carefully woven into a rich emotional tapestry.
The narrative follows a classic arc from seeing Johnny in the changing room where he introduces himself and the setting, through trigger points that advance the story and make the relationships increasingly complex, to a showdown and its consequences that lead to the denouement. As the events and incidents mount up, so does their emotional impact, on him and us, as he leads us through his experiences.
Although he is the focus of the story, there is a strong chemistry between the boys that comes through whatever role Walford is playing. They know how to play off each other to create both humour and tension. They are also blessed with a varied soundscape tied into the scenes and some delightful mood lighting that reflects off the arched walls of The Cave and works particularly well in creating an ecclesiastical setting.
All these elements combine to create a play that is a gem on every level; a theatrical joy that, with humour, pulls at the heartstrings.
