An honest and humorous story, exploring gay identity, male body dysmorphia and the freedom of self acceptance
James Pickthall’s brand new script Hump Day debuted in an original rehearsed reading, providing a thought provoking end to Oxford Queer Fest’s Thursday night lineup. The play’s first half was voiced solely through the character of Kieran (Ben Everett Riley), a seemingly outgoing and confident lifeguard. Yet it soon became evident that Keiran was living behind masks, and experienced discomfort accepting both his body and his identity as a gay man. Pickthall’s ability to take pressures around sexual expression and body image that are too often only discussed in relation to hetrosexual men, and apply them to a queer character certainly fills a gap within today’s theatre scene.
This story is born of real life experience, allowing an engaging candidness to seep through into Kieran’s direct address. We are introduced to his cherished relationship with his boyfriend Noah, his long sought after job as a swimming coach and finally a personality trait which comically overshadows all of this: his famously large penis. While at first the audience is able to laugh at Kieran’s excessive pride in his body, we are gently steered towards the realisation that his appearance has wrongly become his most defining feature, sexualising him and robbing him of any other identity. This contrast between the comic and the sincere brought dynamism to the piece, however there were moments where the two jarred, meaning the poignance of each point lessened. Despite this, there was an impressive depth to what could potentially have been a purely droll story.
The performance elevated significantly with the addition of Gareth Kennerly, multi roling to great effect as well as bringing Noah to life, developing a character we previously only ever saw through Kieran’s descriptions. The chemistry between the two actors was brilliant to watch, almost to the extent where I wondered if Noah’s character should have been introduced earlier, as their moments together were undeniably the most moving. Watching Kieran navigate his toxic reliance on his body, while also recognising that he need not be sexualised or ashamed of it, made for a nuanced and empowering performance.
There were elements of the script which appeared somewhat underdeveloped, such as the 20 year age gap between the lovers and Noah’s sudden near-death heart attack. These elements did successfully urge audience members to unpack anything which prohibits us from fully enjoying our limited time on earth. However, alongside a revelation of Kieran’s past experience of sexual assault, it felt like the play was perhaps tackling too much at once, and so sacrificing thorough character development and detail. Nevertheless, it was not afraid of confronting taboo, and shedding light on important topics with both empathy and wit. I am eager to follow this project’s journey to later stages of development and am hugely impressed by the range of narratives and voices showcased in just one night at the Oxford Queer Fest.