A charismatic crowd-pleaser with sparks of magic

Nathan Queeley-Dennis’ autobiographical one-man show comes to the Jerwold Theatre Upstairs at the Royal Court after a hugely successful run at the Edinburgh Fringe this year, with direction from Dermot Daly. This Bruntwood Prize-winning play follows Nathaniel through the trials and tribulations of the modern dating scene, sharing his struggles of trying to find the one to live out his 90s slow jam dreams with.

The result is a production caught between stand-up and monologue. The jokes are what drive the show – jokes delivered with ease and charisma – but jokes that feel safe and tame, thus leaving Nathaniel to fall into Live At The Apollo territory. This is fine in stand-up. There is no need for character, for arc; comics like Daniel Sloss, Hannah Gadsby and Bo Burnham may imbue their sets with dramatic convention but the sole non-negotiable of stand-up is simple – make me laugh. The challenge and magic of stage is the need to transform our attention into meaning, our laughter into empathy. It’s easy to get attached to Queeley-Dennis’ doubtless charisma, but many moments where a joke could help us learn more about Nathaniel are glossed over, like Novak Djokovic throwing a tennis ball up but never serving.

There are sparks of magic in Queeley-Dennis’ writing. The self-proclaimed ‘Brum-Town Basquiat’ utilises the date set-up to reveal his incisiveness – why do people call themselves night owls when owls are nocturnal? But for much of the show it feels slightly timid, afraid to venture into territory that might make us question whether we like Nathaniel.

There are other aspects where the production could be more clinical in its execution. Scenes taking place on a group chat with Nathaniel and his mates inject great energy with the introduction of different lighting and soundscapes; this multimedia could be used more regularly to bolster jokes and maintain the show’s pace. One of the show’s undeniable highlights is Nathaniel conversing with only Beyoncé lyrics. It’s endearing and hilarious, with a level of care and precision that needs to be applied throughout. 

The stripped-back set leaves Queeley-Dennis to build the world for us. The only dressings are a smattering of jackets and overshirts strewn across the floor, ones that Nathaniel puts on as he rides the romantic rollercoaster, but these pieces aren’t bold or identifiable enough to colour the narrative. 

There is no doubt that most will walk away from this show with their hearts full – the audience on my night certainly did, but this deep-dive into modern dating needs more edge and polish to stick the landing.