This fairy tale in 90s Thamesmead is a joyful celebration of queer romance

30 years ago, when Jonathan Harvey’s Beautiful Thing was first produced, it was described as an urban fairy tale which portrayed what it is to be young, gay and in love in the early 90s. Fast-forward to 2023 and this anniversary production, in a collaboration between Theatre Royal Stratford East, Leeds Playhouse and HOME Manchester, manages to capture the hearts of the audience and recreate the risk, nervousness and elation of a young gay relationship.

The story revolves around two teenage boys, Ste and Jamie – played wonderfully by Raphael Akuwudike and Rilwan Abiola Owokoniran respectively– who fall into romance after Ste stays over one night. Set against a backdrop of a Thamesmead estate in 1993, the production could very easily have become bogged down in larger social themes but it refreshingly – even 30 years later – avoids this in favour of placing a singular focus on the daily lives of these very relatable characters. Anthony Sampson-Pike’s pacey direction and tendency to lean into the humour of the play makes for a joyful ride while Rosie Elnile’s set and costume design, and Elliot Grigg’s lighting present us with a scene that, if it weren’t for the pebble-dashed walls and abandoned tricycles was oddly reminiscent of a Disney film. 

That isn’t to say that this production ignores the more traumatic facets of the play. However, it was interesting to note that the still-very-recent Aids pandemic only had a couple of mentions, while the occurrence of domestic violence is presented as something so regular and widespread as it can be joked at. Whilst the focus of the play is, rightly, on the joy that finding love – especially while growing up gay – can bring, there would have been some value in seeing a greater emotional engagement with the very real troubles these young people face, so that the pay-off when they find each other might be all the sweeter. 

Nevertheless, the second act seems to heighten the stakes and it’s here that the cast really shine. A distinctive highlight is Scarlett Rayner as Leah, hurt and vulnerable and tenacious and mischievous all at the same time, and Trieve Blackwood-Cambridge whose new-age swagger plumbs almost bottomless depths of hilarity. The scene when Jamie finally tells his mum Sandra, a magnetic Shvorne Marks, about himself was touching and enrapturing – you could have heard a pin drop. And when finally Mama Cass’ music – with sound design by the inestimable XANA – lifts us out of the production, and the dreamlike end visual bring everyone to their feet, there is a palpable sense of the value of stories that centre queer joy. Although this production could have gone deeper in exploring the risks of being gay in the latter part of the last century, the fact that it is such a crowd pleasing, joyful and engaging piece of theatre is incontrovertible – quite simply, it’s a great night out.