Tag: Three Star Play Review

The latest Three Star Play Review from THEGAYUK.

THEATRE REVIEW | Jane Eyre – National Tour

★★★★ | Jane Eyre – National Tour

Following being orphaned, Jane Eyre is placed in the ward of her cruel aunt, who favours her own children over Jane and eventually sends her to school, where Jane meets Helen, who teaches her that “there are no evil people, only evil deeds”. Growing into a strong, confident young woman, Eyre becomes a teacher and eventually a governess, and she takes employment at Thornfield Manor, where she meets and falls in love with Rochester, her employer. But Rochester is a deeply complex man who harbours dark secrets and carries with him the weight of a past which is about to come back to haunt him.

Charlotte Bronte’s seminal work needs very little introduction and under the impressive direction of Sally Cookson, the story is beautifully brought to life in this National Theatre production, using a slew of innovative and varied theatrical techniques to provide a highly contemporary take on a classic tale. The set, consisting of a white curtained backdrop and multi-level wooden platforms accessed by a series of ladders and steps proves to be incredibly versatile and surprisingly effective in its portrayal of the various locations. The cast scramble over the set with energy and enthusiasm as they portray multiple characters meaning that there is an almost constant flow of movement on stage. Simple props and a healthy dose of imagination on behalf of the audience provide for an effective, original and inventive presentation.

Nadia Clifford’s portrayal of the titular character is one which is full of confidence, life and determination, and Tim Delap’s performance as Rochester compliments it well, with his aloof and brooding quirkiness. Overseeing events is Melanie Marshall, who observes and narrates key aspects of Eyre’s life with bursts of jazz infused song utilising her beautiful and distinctive voice. The remainder of the cast play numerous roles with clear demarcation between characters and, in the case of Paul Mundell, with a little humour injected into the proceedings.

Quite what Bronte purists will make of the production is unknown, as, whilst the production sticks closely to the source material and lifts out text, passage and prose from it, this is not your run of the mill period costume drama. Instead, it is a refreshingly inventive, highly stylised and imaginatively presented piece which never loses the spirit of the novel, and which is as trailblazing and as forward thinking as the central character herself.

Jane Eyre is on National Tour calling in at numerous venues including Leeds Grand Theatre, Belfast Opera House, Glasgow Theatre Royal, Cardiff Wales Millennium Centre, Milton Keynes Theatre, Norwich Theatre Royal and Brighton Theatre Royal and is currently booking until 23rd September 2017. Visit the National Theatre Website for details. Many thanks to Sheffield Theatres for facilitating this review.

23rd April 2017
THEATRE REVIEW | Gypsy Queen – National Tour

★★★| Gypsy Queen – National Tour

In a story set in the testosterone-fuelled world of boxing, “Gorgeous” George O’Connell, a street brawler from the travelling community is approached to be coached professionally for the sport by a local gym owner. But George’s deepest secret cannot be contained when openly gay boxer Dane “The Pain” Sampson makes a move on him in the changing rooms. The two men fall in love as George tries to come to terms with his sexuality, but they face their biggest fight when George’s internalised homophobia rises to the fore and his actions lead to a tragedy that neither of them could ever have envisaged.

Photo Credit – PR Supplied

In 2015, boxer Tyson Fury caused controversy by stating in an interview that homosexuality was one of three components that would see “the devil come home”. The comments caused a media storm, a backlash against the boxer and demands for him to be removed from the BBC Sports Personality of the Year shortlist. This play by award-winning playwright Rob Wright throws, and squarely lands, a counter punch at those comments by not only telling the story of gay men in the middle of the ultra-masculine environment of the sport, but by also putting forward a gay central character whose background is not that dissimilar to the background of Fury himself.

Using two actors to portray all of the characters in the story, the play has a script with charm, warmth and some genuinely funny moments, as the pair struggle with their relationships with their parents, their fledgeling relationship with each other and the pressures and prejudices of both their professional and personal communities. The set, comprising of a changing room bench, is repositioned to transport the scenes to the various locations, and the characters demarcations come from the use of simple costume changes and some nifty versatility from the two-hander cast.

Rob Ward centrally plays Gorgeous George with a cocksure swagger and confidence; whereas Ryan Clayton balances this out with a measured performance as Dane, played with a sensitive vulnerability. But it is Clayton’s performance of Mrs O’Connell, the foul-mouthed but well-meaning matriarch of George’s family that turned out to be a scene stealer.

Whilst the presentation and performance of the show could do with a little polishing, there is a lot to recommend it. With its 70 minute runtime, the play is well written, well-paced and laced with humour, allowing the central message to come through without ever sounding preachy. The uncertainty portrayed by George in coming out is something that many gay men will relate to, and the exploration of the underlying homoeroticism in such a masculine sport is a welcome and timely one.

Gypsy Queen is a funny, poignant, thought-provoking and relevant piece of theatre and one which is well worth catching.

The show contains full frontal nudity, scenes of a sexual nature and strong language. Gypsy Queen is currently on national tour and details can be found at http://www.gypsyqueentour.com/ . The show was reviewed at Doncaster CAST Theatre, who has The Faaaabulous Ceri Dupree Show coming soon. Visit https://castindoncaster.com/ for details.

Photo Credit – PR supplied

14th April 2017
THEATRE REVIEW | Gaslight – Lyceum Theatre, Sheffield and National Tour

★★★|In an elegant townhouse in Victorian London, Bella Manningham is slowly losing her mind. Pictures keep disappearing, trinkets seem to move from place to place and items go missing without explanation. Add to that the mysterious sounds from the top floor of the house and the dimming of the gas lamps and Bella’s sanity is called into question. But what is the secret history lurking in the walls of the home and just who is the stranger who calls unannounced at her home one evening? Why does Bella’s husband, Jack, keep reminding her of her mother’s insanity and what is the connection for all of them to a 20 year old unsolved murder?

Photo Credit – PR Supplied

Patrick Hamilton’s play is a direct descendant of the Victorian melodramas that it portrays. Continuing the themes of innocence menaced by something darker, the plays script, setting and overall feeling is one of claustrophobia and oppression. Given that the play is set in a single room and given that it is, essentially, a three hander, the play has to rely heavily on the performances of the actors to carry it through. Kara Tointon’s portrayal of Bella was fine, although the increasing histrionics started to grate a little with the progression of the story. Rupert Young’s turn as Jack Manningham was well rounded, initially quite charming and alluring, but subsequently developing his character to include an uneasy undertone. But it was Keith Allen’s performance as the mysterious visitor which stood out the most, performing his stern and determined character with his tongue just slightly in his cheek, lightening what is otherwise quite a bleak drama with a soupcon of humour and playing to his strengths.

The stage set is a detailed drawing room, which has a forced perspective and increases the claustrophobic feel of the piece, which is enhanced further by some atmospheric lighting. The productions sound design was nothing more than functional and the sound in the theatre allowed for every word to be heard clearly, which is essential with such a wordy script.

As a whole, the piece was a fairly mixed bag. The first act nicely established the characters from the outset and drew the audience in as to the mystery, hinting at the possibility of the plot twists which may come, and ending the first act, story-wise, on a decent cliff-hanger. The second act seemed to lose its way slightly, becoming a little muddled and failing to deliver on the anticipated plot twists, instead, providing a rather straight narrative and one which is not entirely unpredictable. There are a couple of cattle prod scares which highlight the supernatural element of the story, although in a rather clumsy and unnecessary way, and this is an element which is never really followed through.

Gaslight appears, from the outside, to be mix of The Woman In Black and An Inspector Calls, but in reality is a straight Victorian melodrama, portraying a relatively linear narrative with a socially aware undercurrent addressing the treatment of Victorian women and the discrepancies in equality faced by them. Overall, it is a fairly engaging but lightweight mystery / thriller worthy of a watch and which has an ultimately satisfying ending.

Gaslight is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 25^th February 2017 before heading to Richmond and Cardiff.

22nd February 2017
THEATRE REVIEW | Cirque Berserk, Birmingham Rep

Dangerous, daring but a little spark-less ★★★

©circusphotographer.com

This is the second time that I have seen Cirque Berserk at the Birmingham Rep, and I have mixed feelings. Mostly, I really enjoyed the acts, and there were moments that got you on the edge of your seat, gasping in horror; but others that made you cringe.

There were your usual circus’ performances such as acrobatics, flame juggling, and even a clown character, which was quite funny; it was funnier when you heard the children laugh out loud in the audience at his every gag. The acts that stood out were Tropicana Troupe, a Cuban acrobat team that catapulted themselves across the stage landing perfectly on a crash mat, and in the second half flying halfway across the air to land precisely on a chair high up off the ground. Of course, their god-like bodies were also a show-stopper. Jose and Gaby performed a stunning contemporary/acrobatic dance routine where Gaby suspended herself with just one hand using Jose’s forehead as support. This blew the audience away, and we were glued to their beautiful movement throughout. Odka was also incredibly mesmerising to watch as a contortionist; Odka shot an arrow against a target by using her feet! Then we saw her spill out of a small bottle-like container. The four motorcyclists inside a metal dome they call – Globe of Death – was extreme and jaw-dropping, and was a brilliant way to end the show.

The other artists appeared little awkward and kept demanding rounds of applause which took away the moments that were really stunning and hand-clapping worthy. Bolas Argentina were very good in the second half, but the first half it was awkward when Germaine tossed the bolas against a springboard but it was a lacklustre effort. Then, Gabriel did a similar trick and it had so much more energy and rhythm to it. The Berserk Dancers were disappointing, as every time they appeared on stage, it looked like they were forced to be there and it made some moments cringing and laughable with only one or two really going for it. Timbuktu Tumblers were very good, but again, a lot of applause begging after every little thing. British audiences, I guess, like to be left alone and want to clap when they feel it necessary. It was especially awkward at the very end when the audience clapped, but the artists wouldn’t move until there was a complete standing ovation, which ended with an unenthusiastic standing ovation from half of the audience.

Overall, enjoyable, but for a circus with some very good acts, it lacked a punch.

21st February 2017
THEATRE REVIEW | Holding The Man, Jack Studio Theatre

★★★ | Holding The Man, Jack Studio Theatre

CREDIT: Nicholas Chinardet

Holding the Man is a play by Tommy Murphy (Strangers in Between) that was also made into a film in 2015.

It’s based on Timothy Conigrave’s 1995 memoir, an elegy to his late partner, John Caleo. The pair met as teenagers in 1970s Australia and fell in love, facing parental disapproval, trying to find where they fitted into society and experimenting with their sexuality. Sadly, Conigrave died aged 34 from an AIDS related illness shortly after completing the book. This is more than just a play about the AIDS crisis, though. It’s a tender love story and a reflection on the problems faced by young gay people, which is still pertinent today.

Director Sebastian Polka has taken a clever starting point to staging this play. The play is wide in its scope, covering Tim’s Catholic school upbringing through to his death, looking at his first experiences of the gay scene and gay activism, his career as an actor and the highs and lows of his relationship with John. Polka takes Tim’s acting career as a point from which to present the characters with the stage being a dressing room where Tim conjures up scenes from his life. Tim is played with skill and sensitivity by lean and angular Christopher Hunter along with astonishingly good muscle hunk Paul-Emile Forman as John. The astonishing thing is that this is Forman’s professional debut and he gives an incredibly subtle and nuanced performance. The rest of the characters from Tim’s life are played by four actors who constantly change clothes and accents along with their roles.
It’s an interesting play that is well staged but ultimately the problem lies in the play itself. It’s a major task to try to present twenty-five years of a man’s life in such detail in one play.

The focus on so many events ends up detracting somewhat from the whole effect and leaves it feeling oddly bloodless. The actors barely have space within the dialogue to convey much and the piece occasionally feels superficial and has less emotional depth than it could have.

Holding The Man plays at the Jack Studio Theatre until 4th Feb 2017

24th January 2017
THEATRE REVIEW | Buried Child

✭✭✭ | Buried Child

CREDIT: Buried Child

If you want to see Ed Harris sitting on a couch for close to three hours, then Buried Child is the show for you.

Harris, film and television star, is excellent as Dodge, the father of two sons (dysfunctional doesn’t even come close to describing them). He lives in an old, ram shackled dilapidated house in Illinois with his wife Halie (Harris’ real-life wife Amy Madigan), who pops up in the first and third acts. Yes, this play has three acts, with two very quick ten-minute intervals between the acts. The last show I saw that had three acts, (The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures), was very painful to sit through and felt a bit like Chinese water torture. Buried Child, playing at Trafalgar Studios, is not that bad but it still feels like a long show.

Harris does spend the whole time on centre stage, on the sofa, and he’s even on the sofa before the show even starts. Dodge and Halie share their home, unwillingly, with their two grown up sons. They’ve obviously missed the financial gravy train and are unfortunately tethered to their poor lot in life. One son, Bradley (Gary Shelford), never left home, and who continues to bring into the house freshly dug up vegetables from no one knows where because there’s not a garden anywhere near the house. Tilden (Barnaby Kay), who used to live in New Mexico, has returned to the family homestead because of an incident that happened there. It’s up to Halie to be the sane member of the family, this is until their grandson Vince (Jeremy Irvine), son of Tilden, arrives in town with his girlfriend Shelly (Charlotte Hope). Immediately Shelly is uncomfortable in the house full of Vince’s miserable and depressed and sick grandfather, father and uncle. But there is a family secret that’s slightly mentioned which peaks Charlotte’s curiosity, and she wants to find out more. Meanwhile, Vince goes to the grocery store to buy booze for his grandfather because the bottle he had under the couch is missing, and while Charlotte is speaking to Bradley and wanting to know more about this secret and starts nagging a bit too much, he puts his hand into her mouth (at this point if I were her I would’ve run out of that house). But the secret that has doomed this troubled family is literally, and eventually, out of the bag, but not before Vince goes missing for the rest of the night and Halie returns home with the family pastor who’s just as uncomfortable in the house as Charlotte is. But it’s not until the final scene that leaves you with an image that you won’t soon forget.

Buried Child is a very wordy play. perhaps a bit too wordy, but it being a Sam Shepard play, there is lots that is over dramatic, over the top, and bordering close to the unbelievable. Surely cutting out one act would’ve made this play more biting, sharper and dramatic instead of long-winded, but director Scott Elliott is able, just, to keep the drama and tension up, while maintaining, until the very end, the mystery of this family’s tragic existence on earth.

Buried Child is now playing at Trafalgar Studios until February 18, 2017.

11th December 2016
THEATRE REVIEW | The Last Five Years

★★★ | The Last Five Years, St James Theatre
CREDIT: Scott Rylander
The St James Theatre near Victoria has had a poor recent track record with widely panned shows such as “Miss Atomic Bomb” and the deeply unfunny comedies “Pig Farm” and “Three Lions” denting their reputation.

It’s soon to be re-launched as “The Other Palace” (what were they thinking of with that name?). Things may be looking up with the addition of the duo that brought smash hit “In the Heights” to London (artistic director Paul Taylor-Mills and choreographer Drew McOnie) for their first production. Now acquired by Andrew Lloyd-Webber’s Really Useful Company, the intention is that this will be a home for established productions as well new musicals.

Before the name change, we have the 2001 two-hander “The Last Five Years”. It concerns a New York couple and looks at their failing relationship. Failing actress Cathy tells the story backwards from the point where they split up whilst rising star novelist Jamie tells the story from the time they first meet. There’s a midpoint where their stories match up and they join each other on stage. Told in solo songs, it’s a quirky musical that hasn’t dated much in its style since it was written in 2001 and the form almost works. There is something odd, though, about numbers in which the couple sing to each other but are alone on stage with the other half of the relationship occasionally loping through.

Star of Les Miserables, Samantha Barks is a gutsy Cathy and can certainly belt out a tune as well as convey emotion. Good-looking “Broadchurch” beau Jonathan Bailey is almost her vocal equal. There are some moving songs, comedic moments and the odd deft touch of lyricism mixed with some heavy-handed metaphors. The main problem lies in connecting with the couple. They appear. They meet. They split up (and do the same in reverse, if you’re watching Cathy’s numbers). We don’t learn an awful lot more. Cathy is a struggling actress who is late a lot. Jamie writes a book and finds success, ultimately neglecting Cathy. It doesn’t feel enough and there’s a limited amount of depth to the story and characterisation that makes the numbers hard to connect with fully. The set is clumsy, pushed and pulled by stagehands with creaky moving parts jerkily appearing and wobbling a la “Crossroads” motel.

In spite of the flaws: there can’t be many of us who don’t identify with the elation of a fledging relationship or the hideous pain of parting when it all goes wrong. There are some great songs, wry humour and touching moments. There’s a lot to like here (especially the two stars) and hopefully, this is a sign of better things to come (except for the new theatre name).

The Last Five Years plays at St James Theatre until the 3rd December

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4th November 2016
THEATRE REVIEW | Fool For Love, Found 111

★★★ | Fool For Love, Found 111

This revival of Sam Shepherd’s 1983 drama marks the end of Found 111, the intimate Charing Cross Road performance space. Housed in the old St Martin’s College building next to Foyle’s, this odd little space has seen some triumphant plays in the past year. We’ve had Andrew Scott as one of a pair of reclusive brothers burying themselves in their own hoard of junk in The Dazzle, James Norton delusional, semi-naked and sweaty in Bug and Matthew Lewis as a hot shirtless hustler (a long way from Harry Potter’s fellow student Neville Longbottom) in Unfaithful.

CREDIT: Marc Brennan

Fool for Love is a claustrophobic play, suited to the closed, low-ceilinged space and seems a fine choice. Stuntman Eddie and his lover May are acting out the death throes of an on/off relationship in a motel room on the edge of the desert, overlooked by a brooding cowboy. The dialogue is terse as they parry and pace around each other and there are more slamming doors than in a house full of truculent teenagers. It’s a one-act play running at 70 minutes and whilst neither the plot nor theme enthral, the language frequently does.

Eddie is played to brooding perfection by Ripper Street star Adam Rothenberg. He’s a strutting piece of sexually enthralling, bruised masculinity. His angular face pouts and he cheekily arches eyebrows. He’s also very easy on the eye and is a constant visual draw whenever he’s on stage. Equally strong is Lydia Wilson as May, convincingly showing us a character on the edge, veering between rage and even more rage. The problem is in the chemistry between them. For some reason, it doesn’t entirely work. However strong they are individually, there’s something lacking between them as a pair of long-term lovers. The space doesn’t help. The back of the theatre is opened up into a more expansive space and the atmosphere of an oppressive motel room that was achieved in ‘Bug” doesn’t quite come across here, however, much smoke they pump in.

Found 111 isn’t going out with a bang (apart from the slamming doors) but nor is it a whimper. This play lies somewhere in between the two. It’s well worth seeing, especially if you’re planning to see Ed Harris in Buried Child at Trafalgar Studios. It fits neatly into the cannon of Shepherd’s work and provides interesting background. Also worth paying cash for is the sight of Adam Rothenberg. Thankfully, the production team are planning on resurfacing in similar quirky spaces that bring theatre away from the proscenium arch and into your lap. Watch this space.

Fool For Love plays at Found 111 until the 17th December

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2nd November 2016
THEATRE REVIEW | Safe, London Theatre

★★★ Safe, London Theatre

The statistics about homelessness people are alarming. 25% of homeless and at risk youth in the UK identify as LGBT, a shockingly high proportion. Alexis Gregory has made a verbatim theatre piece looking at the subject. He interviewed a group of young adults who had been at risk or homeless and created a powerful set of interwoven monologues.

CREDIT: Jane Hobson

Alicia started stealing her family’s painkillers to self-medicate against her confusion and worries about her sexuality. Spiralling into a cycle of alcohol addiction she hurtles towards homelessness and hits rock bottom. Jack is confused by his gender, growing up as a boy in a girl’s body, suffering anxiety attacks and verbal abuse from his family who refuse to call him by his correct gender or use the right pronouns. Samuel realises that he’s gay at a young age but his ultra-religious Nigerian parents aren’t sympathetic to his sexuality. When he’s outed by his sister he ends up facing a volley of abuse and barrage of prayers along with plans to send him to Africa to ‘cure’ him. Understandably he flees. Alicia (same name, different character) is rejected by her mother and ends up in children’s homes and foster care. Trapped in the wrong body she works as a rent boy to get cash to get by.

The stories are a mix of pathos, humour and horror. Samuel’s story (told by the talented Michael Fatogun) is laden with wry humour and the vibrant wit of his character comes through. Riley Carter Millington is among the cast and plays Jack. Better known for his portrayal of Kyle Slater in ‘Eastenders’; Riley was the first transgendered actor to play a transgender character in a T.V. soap opera. It’s a strong cast and they’re gifted a beautiful script (or transcript, even). There’s a hint of music with alternating singers at the start of the show (Rudi Douglas did a spine-tingling acapella version of ‘Smalltown Boy’ on the show I saw). There’s also a series of thought provoking 15 minute curated talks each night after the hour-long performance.

The interspersing of the monologues with interactions of other actors playing subsidiary roles stalls the action and reduces the impact a little but it’s otherwise pitch perfect.

Troubling and painful as the stories can be there’s ultimately something redemptive about them too. The Albert Kennedy Trust’s work figures highly in their support of young LGBT people in crisis. This is a performance worth catching. There can’t be many LGBT people out there who don’t find something to identify with here, too. These are exceptional stories in one sense but not in another. These are ‘everyman/woman’ stories that are sure to resonate.

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20th October 2016
THEATRE REVIEW | No Man’s Land, London Wyndham’s Theatre

★★★ | No Man’s Land takes place over an evening of drunkenness and a morning of sobriety, as Hirst, an upper class writer, and Spooner, a down on his luck poet, exchange stories, anecdotes and reminiscences over copious amounts of scotch; and subsequently, the following morning’s breakfast. Their stories of mutual experiences, acquaintances and relationships are tainted with the distinct flavour of one-upmanship as the pair debate what may or may not be a shared history in Harold Pinter’s absurdist play.
Picture Credit Luke Fontana (PR Supplied)
No Man’s Land reunites Sir Ian McKellen and Patrick Stewart on the London Stage and it is not difficult to see why Pinter’s play resonates with the two lead actors, containing its long passages of complex prose to articulate their way through; and a pair of strong lead characters truly dominating the stage throughout the duration.

With an abundance of strangely compelling verbal sparring between the two, McKellen’s magnetism and stage presence remains completely undeniable with a seemingly effortless performance which demonstrates why he is such an esteemed theatrical figure; whilst Stewart’s (appropriately) muted performance during the first act flowed into a more confident and surefooted second act, with the opportunity for him to revel in the demonstration of his craft. In the two supporting roles, Damien Molony and Owen Teal held their own as Foster and Briggs (a pair with a somewhat homoerotic undertone to their characters), stepping up to the challenge of sharing the stage with the two heavyweights. Sean Mathias’ direction gave a steady steer around Stephen Brimson Lewis’ quasi-symmetrical and somewhat charming set.

The difficulty with the play is that the narrative is inaccessible to the Pinter novice. Pinter’s absurdist play is just that, never really explaining the set-up, the characters, their identities, or their motivations. Their role in each other’s lives remains unclear and the play leaves the audience to draw their own conclusions and reach their own interpretations. Discussions with others have produced a number of differing explanations and theories, with the post show chatter as varied as the scripted anecdotes portrayed on stage. On a personal level, a play with a straighter narrative and less deliberate obscurity would have been far more preferable. I couldn’t honestly say that I enjoyed the actual play itself; but that did not detract from the sheer joy and superb opportunity of seeing two of this country’s finest actors doing what they do best.

No Man’s Land is more of an experience rather than a gentile evening in the West End. An intensively poetic and wordy script provides for a sometimes difficult and challenging watch for those not familiar with Pinter’s work, but whilst the play is not for everyone, the opportunity to see two titans of British theatre is well worth it, and not one to be passed by lightly.

No Man’s Land is currently playing at the London Wyndham’s Theatre until 17^th December 2016. Visit http://www.delfontmackintosh.co.uk/Tickets/NoMansLand/NoMansLand.asp for further details. Many thanks to Sheffield Theatres (www.sheffieldtheatres.co.uk) for facilitating this review.

27th September 2016
THEATRE REVIEW | Punkplay

★★★ | Punkplay

CREDIT: Helen Murray

“…there are no actual rules except the ones we choose to live under. You need to eat, drink water, sleep now and then. The rest is negotiable.”

There’s a celebration of punk this year in London. But what exactly is ‘punk”? A 40 year-old music genre, a lifestyle choice or a way of thinking? Commerce would have you believe it’s a look that you can emulate by spending cash on the high street. It’s way more complex than any of those definitions. “punkplay” relates Punk to the lives of two teenage boys who are feeling conflicted and struggling to see how they fit into 1980’s American society.

Duck’s father wants him to enlist in the army to learn discipline and awkward and ungainly Mickey wants to find where he fits into the scheme of things and snog the face off schoolmate Sue Giki. He’s also keen to learn about sex from Duck. The boys linger in Mickey’s bedroom, making up band names, calling each other faggots and surrendering to feelings of disaffected rage. They’re on roller-skates too, all the way through the play. Don’t ponder this one too much. It makes sense by the end. They fight over a girl, insult each other and French kiss: usual teenage boy stuff.

It’s hard to capture the anarchic and chaotic feel of punk without resorting to clichés but the mostly novice team here have managed to do this with verve and a resounding freshness. It’s uncomfortable viewing, claustrophobic and raucous with bursts of comedy. Naturally, there are blasts of music as the boys riff on an electric guitar and hammer at drums.

This isn’t a play that will suit everyone but it has a soul and a message and it’s one that grabs the viewer. It’s one of those plays that gains something from being reflected upon and the ending redeems everything that went before. There’s a peculiar beauty to the piece and it has a witty symmetry. The play left me thinking of how “punk” relates to “queerness” and gay identity. Lack of rules and negotiable norms? I’ll take some of that.

Punkplay runs at the Southwark Playhouse until the 1st October

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11th September 2016