Review of ‘Period Parrty’: “Menarcheal writing shows promise but slightly over-padded delivery”

The Soho Theatre hosts the world premiere of Gayathiri Kamalakanthan’s coming-of-age play, which explores the trials and tribulations of a non-binary teenager trying to break away from their family’s tradition. Guillermo Nazara shares his views on the show to let us know if its self-affirming narrative discharges its duty over the curse of the evening.

Parents often love to take credit for their children’s achievements, but they instinctively wash their hands the moment they must take responsibility for the grief they’ve caused. Sadly, the latter has been the norm for too many, if not most, LGBT+ people. This is not a vindictive play, though — not that there’s anything spiteful about acknowledging a reality. Yet, the suffering of a young teenager trying to break from their family’s shell is the glue that holds the storyline together. Its positive outcome, however, is what keeps it stuck to the viewer’s heart.

Meet Krish, a non-binary high school student who’s finally had her first period. Nothing to get carried away with, though (see what I did there?). Their mother has eagerly waited for this occasion for so long. In Tamil culture, it calls for a celebration, as it marks the transition from girlhood to womanhood. It’s a tradition spanning across generations. And now, it’s time the torch was passed to Krish. The only problem is that Krish doesn’t want to continue that legacy. What for others is a source of joy, to them is an unbearable burden. And as much as they love women, they just can’t identify as one of them.

Despite the dramatic essence of its premise, the plot takes audiences on a fun, light-hearted ride full of innocent charm. Writer Gayathiri Kamalakanthan does a compelling job crafting the characters, especially the protagonist, who ticks every checkpoint of the goofy adolescent formula but still brims with sincerity and individuality. And while the supporting roles veer more into the bestie-confidante and overbearing-mother-who-just-does n’t-get-it-until-you-realise-she-did-all-along cliches, they don’t necessarily come across as one, working adequately enough to underpin the narrative’s emotional side and, consequently, win the audience over.

The play sets up a robust array of themes, resonant and universal enough to hit beyond their queer framework — the conflict between one’s hopes and dreams and what their parents have hoped and dreamed for them; the subsequent fear of disappointing those who love you, but by trying not to break their hearts, end up destroying your integrity; and above all, a message of friendship, care, and understanding.

These accomplishments do not come without a few prominent issues, nonetheless. While the dialogue is generally strong, its humour doesn’t land as much as the author intends — with some jokes feeling too predictable and, on the whole, lacking sharpness and sass. The pacing is also flawed by the script’s oversaturation — there’s too much to handle in barely 80 minutes. As a result, the characters’ arcs are well-established, but they only feature the cornerstones of their journeys, leading to a rushed and slightly shallow evolution.

We can also acknowledge the cast’s ease and chemistry in their highly enjoyable performances. Elizabeth Green shines as Krish, delivering a most inviting and lovable version of the role, which blends their dopey temperament with soul-touching gravitas. In addition, Rani Moorthy enchants through the honest simplicity of their mother, Brintha, while Tanvi Virmani accentuates the piece’s comicality through the playful yet caring energy she channels through Krish’s best friend, Brenavee.

Although it may be a little too early to bring flowers to Period Parrrty, its solid ethos and briefly effective pathos still make it a decent enough option at this time of the month. Its im-mense potential may not have been entirely exploited, with its scarce flow of rhythm posing as its primary fault. Yet, the play has proven to have a pulse, and with further development, it shouldn’t be too far from completing its cycle. So far, however, I can say that it’s a fine experience, but not bloody good.

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All pictures credit to Ikin Yum.

Period Parrrty plays at London’s Soho Theatre until 22 November. Tickets are available on the following link.

By Guillermo Nazara