Review of ‘The Real Ones’: “Truth can’t just be said”

The Bush Theatre hosts the world premiere of Waleed Akhtar’s latest play, starring theatre and television star Nathaniel Curtis. Guillermo Nazara shares his views on the show,  to let us know if this friendship-themed piece manages to be one of the besties.

Life is change. That’s probably the greatest truth about it. And also, the toughest lesson that, sooner or later, we’re bound to face. We’re always different to what we were the day before. And going through our own journeys also means deviating completely from those of others – even the ones who were expected to stay forever.

The Bush Theatre opens its 2024 season with The Real Ones, a new play dealing with the trials and tribulations of two best friends, as their paths keep meandering towards and away from each other until reaching their inevitable conclusion. Written by Waleed Akhtar, the plot revolves around a young gay man struggling to find his place in the world – unable to come clean with his Pakistani family, while also trying to pursue his dream of becoming a successful playwright. Relying on the support of his spiritual sister, a woman coming from a similar background and sharing the same interests, their situations will however evolve in the most diverse, and sometimes opposite, ways – as they realize that their definition of happiness may no longer coexist in each other’s book.

A gripping, insightful premise that sets a solid ground for a potentially compelling script, the expectation created by such a promising basis sadly fails to materialise in its delivery almost entirely. Though structured upon some major, deeply touching themes, none of these attributes are however exploited well enough to set the piece in proper motion – too often, feeling as if many of its concepts have been restrained from making any progress, and ultimately, achieving their own individuality.

With its pacing lacking a bit of consistency (most of scenes, missing either the necessary development or editing), the story finds it hard to entice us as a whole – unable to bring anything new or surprising as it moves along, and featuring too many clichéd elements both in its drama and dialogue to make it resonate with the viewer. In addition, though the character arc is somehow well-established, the script is unfortunately incapable of going any deeper than the archetypes it puts in place – thus, leaving us with the sensation of being deprived from a singular vision, and most importantly, an independent voice.

Some merit must be acknowledged, in any case, as for the show’s production values. Staged as a thrust, minimalistic design, Anisha Fields’s approach enhances the account’s dynamism while also adding some elements of symbolism  – well complemented through Christopher Nairne’s uncomplicated but effectively enveloping lighting. As for the cast, lead actors Nathaniel Curtis and Mariam Haque project good chemistry towards each other, with Curtis also exuding innocent charm through the flamboyant yet believable take on his personage. Yet, such efforts can’t wistfully go any further, as the material prevents their acting from heading anywhere else due to its noticeable absence of flow and insightfulness.

A formed idea that’s still looking for its final finishing, The Real Ones makes an honest statement by conveying a few significant observations, but fails to articulate them into something more profound and tangible for its audience to grasp. A more thorough (and possibly, out-of-the-box exploration) of all its aspects, as well as the tools it employs, will be crucial to allow the piece to transition from a rough sketch of motifs into something that’s finally capable of saying something – and consequently, speaking to its public. We all know how life works. But we always welcome that fresh reminder that can take us to an overlooked corner of reality.

All pictures credit to Helen Murray.

The Real Ones plays at London’s Bush Theatre until 26 October. Tickets are available on the following link.

By Guillermo Nazara