This frothy gay comedy of manners features two couples in the throes of a seven-year itch. Conor (Ashley D Gayle) is a Hollywood lawyer married to his self-proclaimed “twink”, Mal (Jake Mitchell-Jones). Robbie (Robert Rees) is a hotshot architect who has persuaded his recently “out” partner, Rayyan (Rolando Montecalvo), into an open relationship.
The cracks in their respective relationships start to show when two of the men, ex-lovers from seven years ago, come accidentally face to face. Cue bed-hopping, deception, chase and explosive denouement.
Writers Shaun McKenna and Andrew Van Sickle speak of their love of screwball comedies in the play’s programme and it shows in their script’s abounding wisecracks and witty one-liners, all lathered in exaggerated camp here. Pacily directed by Bronagh Lagan, there are coincidences and hotel-room masquerades which, at times, make the play seem like a gay twist on restoration drama.
Beneath the old-school comic formula, though, is an exploration of contemporary gay identity and lifestyle. Serious choices are being made by these characters on queerness and the heteronormativity of monogamy and marriage. Sometimes there is a too clear sense of the plot turning its screws, or themes being debated, but it is charming even so.
It is set in San Francisco’s art world, a city and milieu that seems like the perfect conceptual fit for the themes the play is examining. So it is a shame that there are just a few broad-brush references to juice bars and one mention of Berkeley’s upmarket restaurant Chez Panisse tucked in, and no more meaningful specificity.
In its look, it is contemporary and sleek, much like the theatre’s smart new purpose-built space. Gregor Donnelly’s set design is all white walls with video art projections (designed by Matt Powell). The art is in constant motion, on a relentless loop, and seems to gently satirise the video medium itself.
A flirtatious Norwegian chef (Øystein Lode) is thrown into the fray towards the end and brings amusement but somewhat undercuts the drama’s final, vital tension.
The performances are full of verve although it is hard to believe in these romances. Nor do the actors quite plough the emotional depths of the script. Jealous insecurity, hurt and betrayal powers the farce but these elements feel flattened while the funny bits are sometimes too OTT.
True to its genre, it is all wrapped up neatly and predictably at the end. But it is always fun to watch, with a promising script that shows clear signs of talent.
At King’s Head theatre, London, until 10 February
