Love, grief and heartbreak come together in Michael Batten’s latest play exploring the joys and wounds of a committed relationship. Guillermo Nazara shares his views on the show, to let us know if this raw story dealing with the most harrowing experiences in a romance is worth falling for.
There’s nothing new about what you’re gonna see – or hear. Nothing at all. It’s the same old rubbish we’ve been coping with for years and years. You realize you’re different to what others consider normal (thank God!) and you’re condemned for that. Your family looks away. They reject you. The bring you shame. You have no friends. Or even if you, the only make you feel as if you should be grateful that they are not mocking you that much. And there comes a day when you think that it’s too much and you simply can’t take any of that anymore. That it’s over. Until you realize that your true relatives and mates are those who don’t make you see yourself as a weirdo, but as someone special. And when you sever all ties from an abusive background, there’s no turning back.
Every time I come see a show where queerness plays a pivotal role, I keep thinking how recurring that concept is – not because authors have run out of ideas (Hollywood has made that clear…), but because the reality is, for better or worse, always the same. Not surprisingly, the journey every gay man experiences is not too far gone from the rest of his community: sadly enough, we’ve all been bullied at school and home as kids, but we’ve also crushed the rules of heteronormativity and made our voice been heard – while fighting the ones that only advocated for our silence. Things get better but there’s still work to be done. And whatever we achieve, we must always remember how things used to be. And never forget…
Michael Batten’s most recent piece is founded on each of these scars. A charming, almost dreamy recount about two men finding bliss and solace in the feelings they profess to each other, the level of truth that’s given into its dialogue can only come from someone who’s experienced its characters’ background in their own skin – and probably, deeper than that. There’s no discovery, though – you won’t leave the theatre thinking something within you has been transformed. But chances are that you will gaze upon your own self in a good bunch of scenes. It brings reality to the table and twists it through its thriller-genre narrative. And despite the shocking elements being predictable, the engagement never wears off.
Directed by Alan Souza, both the writing and its montage manage to deliver a compelling recount, which apart from some occasional, minor cliches (I could see the punchlines for some naughty jokes from a mile away, but then again, I have a PhD -or is it, GhB?..- in the subject), accomplishes an enticing plot that stands out not that much through its action (albeit its resolution being both moving and distressing), but through everything that comes before it. The part look authentic and highly relatable, and their evolution (both on off scene) is tremendously approachable. All in all, leading to an entertaining tale whose strength comes from where its personages are all about, rather than what they do.
Confined to a small set consisting of basically a bathtub and a basin, the production’s visuals become one of the most gripping components of the whole performance, creating such an intricate atmosphere, it’s fairly harsh not to be seduced by the allure of its ambiance. A great deal of its success comes from Jack Weir’s exceptional lighting, designed with superb originality and attention to detail, resulting in a constantly stimulating voyage that not only enhances the narration, but in some manner, regales us with one of its own.
As for the cast, both Nick Hayes and Matthew Stathers give a satisfying rendition, exuding some flair and naturalness in their portrayals. Nonetheless, the most praiseworthy aspect of their interpretation stems from the infectious chemistry that they project onstage – building so many layers of intimacy and personal rapport, it’s fairly impossible not to fall for the drama they’re bound to take us through.
One more story about the power of love over the obstacles of fate, Remembrance Monday brings back the memories from a background we can all feel connected to, while making a few new ones through its sometimes enchanting, but mostly harrowing account. You won’t attend to be inspired, but to be reminded of the values we should never take off our minds. You won’t come for the unexpected, but in fact, for what you know that’s going to happen. But that’s actually what makes it honest and, to some degree, insightful. It’s one more play based on the same theme. But it’s also the one that got it right.
All pictures credit to Danny Kaan.
Remembrance Monday plays at London’s Seven Dials Playhouse until 1 June. Tickets are available on the following link.