Extra Virgin ☆☆☆☆
Above the Stag
Expectations rise on taking our seats for Extra Virgin as we hear, piped over the house sound system, the song “Something tells me (something is gonna happen tonight)” by Cilla Black. It’s a joy to hear such a classic/trashy track again and the play does indeed open with some vigorous shagging – so far so good.
We learn a little bit more about our lucky couple as this one hour long, two hander progresses.
Good looking, laddish, Elliot is beautifully played with pecs and precision by Alexander Hulme (last seen by Queerguru in ‘San Domino’ at the Tristan Bates Theatre). He gets his partners name Noah (James Farley) wrong in their cosy post coital chat but then Noah does comes across as a bit needy and even describes himself as a “helpless skinny little twink”.
It appears they have just met on Grindr and they commence a surprisingly deep conversation for such a fleeting liaison. They discuss their sexuality and bullying at school and the talk of murderous strangers helps to stoke up the tension.
Noah suggests that emotional danger is sexy. Whilst this might be seen as unhealthy we wonder where he is leading us. He suggests an Emotional Challenge – an Emotional Hook-up – where they match the sex with emotional intensity – again we find this a bit extreme for a first date.
When you look at the genesis of the play we discover that director Peter Bull found the play at the New York International Festival. He has created a forensically paced, riveting show but perhaps it is the American influence that allows the characters to dive (unbelievably) straight into their inner psyche, and when we learn Noah claims to have been in ‘therapy’ it’s a giveaway; you could argue it’s not always possible to translate context perfectly.
The scenic design by Andrew Beckett is highly realistic and detailed – the film posters, writing desk and laptop helps us believe we are in Noah’s digs (he is a MA student in Screenwriting). The suggestion that he might enjoy spinning a story is not lost on the audience. The lighting design by Andy Hill is extraordinarily efficient – just seven lamps and a couple of specials and the entire piece is atmospherically lit.
Elliott despite his ladishness is a good listener and asks the right questions. He doesn’t seem to have an agenda but is surprised at how honest he finds himself being when Noah ask him stuff he has never said aloud loud before. As dawn breaks, these intense emotions trigger shocking violence and (without creating spoilers) we watch an extraordinary interplay between the characters where physicality, sensitivity, prior knowledge and childhood trauma sees power shift, subtlety, from one man to the other.
This play may be short but its big on emotional dynamite – it’s a powerful psychological thriller and you leave the theatre in a daze.
Runs until 10th February 2018 http://www.abovethestag.com/vxl/
REVIEW: JONNY WARD Jonny Ward, Queerguru Contributing Editor is a drama graduate but has worked backstage for many years at venues such as The Royal Albert Hall, The 02, Southbank Centre and is currently at The National Theatre. He lives in Hoxton, London and is delighted to check out the latest, the hottest and the downright dodgy in queer culture for Queerguru. (P.S. He is currently single)
Labels: 2019, Jonny Ward, London Theatre, review
