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Beautiful Thing

Beautiful Thing

★★★★★

Theatre Royal Stratford East

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BEAUTIFUL THING at the Theatre Royal Stratford East

★★★★★

Beautiful Thing

“The pair have an enchanting chemistry – they perfectly capture the awkward nervousness of young love”

Jonathan Harvey’s coming-out and coming-of-age story Beautiful Thing was first performed at the Bush Theatre in 1993. Now, 30 years on, a revival – directed by Anthony Simpson-Pike – has graced the stage of London’s Theatre Royal Stratford East. Strikingly relevant to today and beautifully told, we follow 16-year-old neighbours Jamie (Rilwan Abiola Owokoniran) and Ste (Raphael Akuwudike) as their gentle love story unfolds within the tightknit working-class community of Thamesmead. Jamie clashes with his no-nonsense mother Sandra (Shvorne Marks) and her middle-class boyfriend Tony (Trieve Blackwood-Cambridge) whilst Ste struggles against his abusive, alcoholic father. School drop-out Leah (Scarlett Rayner) and her absent mother complete the trio of houses on which the play focuses.

Owokoniran, a last-minute replacement for Joshua Asaré who dropped out due to personal circumstances, shines in the lead role. He is best when leaning into his young character’s sweetness – parading around in the glasses that Ste likes is a particular highlight – and when wittily sparring with Sandra. Akuwudike does an excellent job at rendering Ste’s cheery disposition as well as his hesitancy and frustration at his family circumstances. The pair have an enchanting chemistry – they perfectly capture the awkward nervousness of young love and are totally believable in it.

Sandra evolves throughout the show and Marks brings a great empathy to her. A self-reliant single mother with a string of younger lovers, she is hurting and craves her son’s affection. Blackwood-Cambridge is hilarious as Tony. His overly sexual movement and mannerisms – directed by Annie-Lunette Deakin-Foster – are excellent. He fully embraces the absurdity of his ill-placed character. He does, however, also deliver real tenderness in his final scenes, elevating his character beyond the clown with great skill.

“It is funny, uplifting and has real heart.”

Rayner provides a great brashness to the proceedings and does great in the play’s climax when her character has a bad trip. She is an effective foil for the other characters – her need to interfere and ask difficult questions drives much of the plot.

Rosie Elnile has designed a gorgeous set. We see the cream concrete exterior of our protagonists’ respective flats. Jamie’s – at the centre – is a rose between two thorns, a basket of flowers and a freshly painted door brighten up the otherwise nondescript façade. Characters enter via the flats or the right-hand side of the stage. The only interior to which we are privy is Jamie’s bedroom – a single bed that juts out from the exterior wall of his flat towards the audience.

Excellent lighting (Elliot Griggs) works wonders to enhance the set. Between scenes, colourful filters coat the set as characters dance and move rhythmically around highlighting the emotion or dynamic(s) of the previous scene. In addition, the lighting is used to grow and reduce the space, most obviously when we are in Jamie’s bedroom, his bed spotlighted, the rest of the stage dimmed to hone our attention onto the single room.

The sound design (Xana) is also thoroughly distinctive – funky, almost Seinfeld-esque beats play to transition us from one scene to the next. The musical stylings of Mama Cass also feature heavily. Her music drifts out from super fan Leah’s flat and her song ‘Dream A Little Dream Of Me’ is an anthem for Jamie and Ste’s acceptance of their sexuality.

Beautiful Thing is a thoroughly touching story of queer joy. It is funny, uplifting and has real heart. The cast bring strong and nuanced performances to their respective characters and the script is brilliantly quick. Time flies whilst watching this play and your cheeks will hurt from smiling at the charming tale. I could not recommend it enough.


BEAUTIFUL THING at the Theatre Royal Stratford East

Reviewed on 22nd September 2023

by Flora Doble

Photography by The Other Richard


 

 

Previously reviewed at this venue:

 

CAFÉ SOCIETY SWING   ★★★★★  June 2018

PYAR ACTUALLY   ★★★★  May 2018

SUMMER IN LONDON  ★★★★★  July 2017

TOMMY  ★★★★  June 2017

Beautiful Thing

Beautiful Thing

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The Glass Menagerie
★★★★

Arcola Theatre

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The Glass Menagerie

The Glass Menagerie

Arcola Theatre

Reviewed – 1st June 2019

★★★★

“What the show does instead is to tease out the delicate nuances of each character and the generous humanity of the writing”

 

Directed by Femi Elufowoju Jr, this adaptation of Tennessee Williams’ 1944 play comes with the baggage of taking on an all-time classic, but it does so with empathy and style.

Tom Wingfield (Michael Abubakar) is ‘starting to boil inside’. He feels stifled living in a small St. Louis apartment with his loving but controlling mother Amanda (Lesley Ewen) and his sister Laura (Naima Swaleh), who suffers from both crippling shyness and the after-effects of childhood illness. Tom works joylessly in a shoe warehouse to support the three of them while dreaming of adventure and travelling further afield – like his father, who abandoned the family 15 years previously. Amanda persuades Tom to invite a friend to dinner in the hope that this ‘gentleman caller’ will fall in love with her fragile daughter and save her from poverty, solitude and her dreamy remoteness.

The first half unfolds slowly, allowing plenty of time to fill in the characters of the three family members. There are flashes of humour amid an overwhelming sense of sadness and frustration. The second half introduces Jim O’Connor (Charlie Maher), the gentleman caller upon whom so much expectation rests, and the intensity goes up several gears. As the plot develops, so too do the performances. Subtle – and less subtle – transformations ensue.

The moments in which Jim and Laura begin to reveal their true selves are utterly heartrending and exquisitely judged. My only criticism is that part of this key scene, with the pair sat on the floor, was difficult to see from the section of the theatre in which I was sitting. That said, it would be impossible to make such an intimate exchange equally visible from every angle. And anyway, the acting was so assured that their conversation was compelling even when I couldn’t see their faces. The devastating vulnerability on display takes you aback.

The set – often dim and shadowy, in keeping with the memories of the narrator – brilliantly frames the action. Beyond the claustrophobic interior of the apartment, there’s the moonlit fire escape with views of the dancehall along the street and the promise of greater freedoms beyond. With these simple elements a whole world is evoked.

Wisely, this production doesn’t attempt to reinvent Williams’ work. With the sparkling dialogue and perfect pacing of the source material, it could hardly be improved upon. What the show does instead is to tease out the delicate nuances of each character and the generous humanity of the writing, exploring the various shades of the emotional truths implicit in every line. The result is deeply affecting.

 

Reviewed by Stephen Fall

Photography by Idil Sukan

 


The Glass Menagerie

Arcola Theatre until 13th July

 

Previously reviewed at this venue:
The Secret Lives of Baba Segi’s Wives | ★★★★★ | June 2018
The Rape of Lucretia | ★★★★ | July 2018
Elephant Steps | ★★★★ | August 2018
Greek | ★★★★ | August 2018
Forgotten | ★★★ | October 2018
Mrs Dalloway | ★★★★ | October 2018
A Hero of our Time | ★★★★★ | November 2018
Stop and Search | ★★ | January 2019
The Daughter-In-Law | ★★★★★ | January 2019
Little Miss Sunshine | ★★★★★ | April 2019

 

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