Review of ‘In Conversation with Graham Norton’: “Queer coming-of-age play sets the right path but struggles to walk it down”

London’s Waterloo East Theatre welcomes Simon Perrott’s new play, exploring the trials and tribulations of a gay teenager struggling to embrace his sexuality. Guillermo Nazara shares his views on the show to let us know if this tale of courage and self-acceptance is likely to give viewers a prime time.

Before you ask, or book tickets, it is my duty to inform you that you shan’t see the beloved (by some) celebrity on the Waterloo East stage. Walk a few yards past the theatre, however, and you might get lucky. But this is hardly the point. And we should be grateful to writer Simon Perrott for developing a play that reduces Norton’s presence to a framed picture that’s always facing backwards. I’d like to say that’s the highlight of the show, but the truth is that there’s more substance to scrape.

It isn’t anything we haven’t seen before, nonetheless, especially in this theatre. Trauma and gay stories, real or fictional, always go hand in hand. This one is no exception. A teenage boy is coming to terms with his sexuality, and it goes without saying that it’s not going too well. The bullying at school is endless, and his household isn’t any better — his twin sister is nothing but spiteful, and his parents’ solution is to turn a blind eye. He has nobody in the world, except for the portrait of his hero, who has become his confidante.

It’s a premise brimming with poignancy and resonance, both of which Perrott conveys to some extent. Most of the situations depicted throughout the narrative are likely to hit a nerve or two. Sadly, that’s the case with many gay men — even today. We can all relate, in some way or another, to those feelings of loneliness, dejection, and despair. Too often have LGBT+ people been the easiest target for harassment at school. Many of us have grown up friendless and unsupported by those who were meant to love us and protect us. And the temptation to end it all for good is not stranger to any of us.

The text does a decent job at exploring all those themes, pulling no punches back when portraying a reality that couldn’t be cruder. Yet, its dramatic effect is limited. The recount flaunts some pathos, but its layer is too thin for viewers to retain. It doesn’t stir us enough, and neither can it make us care.

Despite its monologic approach and the venue’s intimate vibe, the script struggles to create a sense of proximity to the audience. The problem stems from a lack of character depth added to a generally faulty structure. Overall, the pacing is flawed. Things escalate way too rapidly without the necessary buildup. Consequently, we can understand why he’s suffering, but we can never feel it — leading to the impression that the author can’t either.

There’s a certain degree of individuality in its protagonist. His journey might be rushed, but there are some compelling traits in his personality — no matter how sketchy he comes across. In that regard, his innocent drollery and goofiness make him both inviting and genuine, exhibiting potential for memorability, which he would have achieved had he been given the necessary space. Still, his wholesome experience of fingering his pet cat is something my therapist and I will remember for the rest of our lives.

Actor Jamie Kaye brings charm and freshness to the role. There’s an engaging quality to his easy-going rendition. Yet, he doesn’t demonstrate enough range to carry the emotional and narrative complexities the account requires. This is a plot overflown with personal turmoil. Yet, his execution fails to underpin any of the rawness that the character goes through — at least, in a credible manner. His range when playing other roles isn’t extensive either. All in all, the differences among those personages are too vague, resulting in an increasing sense of dullness that overtakes his act.

Every tale can be told as many times as one wants to try, even when the term umpteenth feels like an understatement. There’s one fixed condition, however — each version must have a reason to exist. Although In Conversation with Graham Norton establishes an engaging, moving, and insightful array of themes, their exploration is barely fulfilling. Some viewers may connect with a few elements, but in the main, the separation between character and audience prevails. And even by its hero’s standards, the show might be too plain to inherit the earth.

This site is proudly sponsored by

In Conversation With Graham Norton plays at London’s Waterloo East Theatre until 30 November. Tickets are available on the following link.

By Guillermo Nazara