Desire, drugs and lust intertwine in this emotional roller coaster questioning the meanings of love and relationships. Guillermo Nazara reviews this original new play upon his attendance to its world premiere, to share his thoughts about a show where fantasy becomes the rawest depiction of reality.
Breaking society’s rules only to be chained to someone else’s. It’s funny how life’s circles can repeat all over again without us even realising – at least, not until it’s too late. As gays, we’ve fought for equality (not a fashionable word anymore), we’ve fought for respect, we’ve struggled for the one thing that was denied to us from birth simply because the rest could not understand it (or didn’t want to): to let us be. But maybe on our way up to the top (no pun intended), we forgot about something more important far beyond the greater good: to love ourselves as individuals.
It’s not the first time the Royal Court Theatre brings on a show pushing the boundaries of social establishment – in all fairness, that’s pretty much what they like to do. But as I’ve warned on numerous occasions through bitching and bad-mouthing others with the excuse of reviewing (I think I still have a couple of friends left), questioning morals frequently translates as preachment – which is the last thing you want on a night at the theatre. Author Danny Lee Wynter seems to agree with me (at least unconsciously), as not only does his piece step away from lecturing, it also criticizes it savagely – delightfully, pleasurably, fulfillingly (I’m getting carried away…) savagely.
BLACK SUPERHERO is a true writing accomplishment – the kind to feel proud to have created but also to experience. Featuring extremely well-constructed and defined characters, its exploration of gay reality (yes, everything can get gay now – watch out!) manages to depict its common world and stereotypes without turning into a cliche – at some point even rising as a beacon of light. The focus on materialistic success clashing with the obnoxiousness of obsessive SJW advocacy generate the perfect storm for a fast-paced and increasingly interesting storyline that, far from taking sides, invites us to think (or rethink) and have our own opinion.
Directed by Daniel Evans, the staging of the production shines in tandem with its narrative – making use of compelling blocking, sensationally seamless and occasionally impressive transitions, all combined with the magnificence of its visuals. With a set design credited to Joanna Scotcher, the universal allure of the montage’s aesthetics is, honestly, a treat to the senses – providing excitement, elegance and enticement all in once (and just like that, I’ve coined the three E’s of drafting). Though starting rather monotonously during the first scenes, the problem is rapidly solved from the middle of Act One – and completely erased (and obliterated) through the whole course of Two. It surprises at some stages, but most importantly, it transports and outlines at almost all of them.
Starring playwright Wynter also in the lead role of David, the entire company gives an astounding rendition filled with naturality and presence. Apart from David’s rather touching performance, Dyllon Burnside delivers a compelling portrayal, while Dominic Holmes and Rochenda Sandal stand out through their charismatic and uproariously driven acting. In addition, Ben Allen and Ako Mitchell work in perfect harmony with the rest of the team, exuding both the hilarity and dramatism that the play’s intrinsic instability requires.
Too ambitious writing often equals pretentiousness – which at the same time leads to an uncontrollable crash (I’m sorry you had to experience it today through this post… now say I’m wrong!). BLACK SUPERHERO stands on its tracks safe and sound, though – through the words of a first-time an author whose talent makes up for any unexisting previous experience in this field; through the hands of a competent director that’s proven how to thrive by not playing it safe; and through the articulation of a troupe that clearly believes in what they are bringing onto the stage. With dialogues that touch, cheer and trigger your critical side, there is one message to be taken home at the end of the day: Clapham gays are the worst!
All pictures credit to Johan Persson.
BLACK SUPERHERO plays at London’s Royal Court Theatre from Monday to Saturday until 29 April. Tickets are available on the following link.