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⭐⭐⭐⭐⭐ Set around the time of the arrest of the actor John Gielgud in a public lavatory in London, when he pleaded guilty to a charge of ‘persistently importuning male persons for immoral purposes,’ this play is set around the BBC’s first documentary on what was then seen as the ‘problem’ of homosexuality. At the time, homosexuality was seen as a major social problem, and at best was regarded as an individual’s illness that needed to be cured.
This amusing play juxtaposes the internal politicking to record and broadcast the documentary inside the BBC radio department with the struggle of Tom – a young working-class shop assistant who works at a branch of Burton’s tailors in Manchester.
Tom is only 19 when we first meet him. He’s shocked, angered and frightened by the summary sacking of a good-looking colleague convicted of ‘importuning for immoral purposes.’ He struggles with his well-meaning mum’s attempts to pair him off with a suitable young lady. Fortunately, Cynthia is a good church-going girl who doesn’t believe in sex before marriage. Phew! He managed to disentangle himself from that by professing atheism.
As the internal debate, horse-trading and politicking continues in the BBC over the scope of the documentary and how the producers should frame it, Tom is drawn to Roy, which almost leads to disaster, when Tom’s hand lingers too long while measuring Roy’s inside leg.
In his journey through public toilets, and seedy back bars in Soho, Tom struggles with his fear of being found out, potential blackmailers and finds love for a short period with his ‘darling Jack.’ Eventually he hears the broadcast on the radio and discovers that he is a victim of ‘arrested development.’
This play captures the mood of the times, the outdated attitudes, the so-called experts like Mary Whitehouse who promoted worthless theories
about mothers and sons, press hysteria over gay men and the underground culture of ‘pansies’ and ‘Nancy boys.’
The acting is superb. Jolyon Benson’s understated portrayal of Tom connects well with the audience. Max Logan and Andrew Pollard show amazing versatility in a variety of roles, from stuffy BBC executives to Tom’s girlfriends, using wigs and coats as simple props.
Anyone attending this production will be invited to complete a questionnaire on how much they knew or learned about the issues raised in the play. Your reviewer learned something new. You may learn something too.
Reviewed by David Kerr
