A twisted, charming piece of queer performance
As a queer reviewer, I find it rare to come across queer representation in theatre that widens its narrative beyond rehearsed stereotypes, and yet Tender did exactly that. Written by Eleandor Tindall, the play seeks to prove how human connection is the motor of life’s ebbs and flows. Utilizing body horror and elements of the thriller genre, Tindall’s message is brought alive by director Emily Aboud. From the set choice, to movement and lighting, every aspect of this performance feels so rich and immersive and reminds me of the expansiveness theatre has to offer.
The play features four characters. Its protagonists, Ash, a thirty year old looking to start again after an end to a toxic engagement and Ivy, a fragile, destructive individual who grins and bears her boyfriend. Ash also multiroles as Cass (Ivy’s brother) and Max (Ivy’s boyfriend). The chemistry and connection between the two characters is undeniable, whether it was the casting choice or Aboud’s direction, the convincing connection between these two serves as the driving force within the play. As Ash, played by Francesca Amewudah-Rivers and Ivy, played by Nadi Kemp-Sayfi, learn of each other through a random encounter, Tender follows their shared infatuation and personal battles as they strive to find their feet in life. Yet, as the two embark on furthering this relationship they learn this connection is rather closer to home.
Aly’s Whitehead’s set choices deserve a distinct applause. The imagery within Tender felt to be one of its richest assets and the pulse within the performance, was so neatly translated into the set. The thriller aspect of the play was largely down to physical worldmaking of Whitehead. Ash’s new bedroom wall was seen to have it’s own heartbeat, as the yellow fabric vibrated and murmured throughout the performance. Moreover, the flesh-like beanbag was a fantastic tool for both a bedroom piece and the propellor of the hundreds of yellow flowers remincinet of Ash’s ex-boyfriend. On stage-right (Ivy’s side), a dip in the flooring revealed a rectangular pit, decorated with mirrors. In front of the mirrored-hole, a translucent tank, half-filled with water, is situated. These set pieces worked with Ivy to demonstrate her feelings of entrapment in both her relationship and body. The water acted as a satisfying visual as her blood curdles in the tank. Whitehead’s design choices utimately enabled an externalising of the inner-turmoil of both characters.
The movement sequences truly captured the intimacy between Ash and Ivy as their relationship deepens. Tommy Ross-williams’ intimacy direction and Aboud’s direction proved to map the growth of the pair in addition to demonstrating the embodied anxieties of the individuals. The flow and poeticness of Ivy and Ash’s bodies when they were being intimate with one another and themselves conflicted with the moments of bodily distress and tension. The sense of uncertainty within Ivy’s body and mind is explored with such attention to detail, really underpinning this outwardness of her inward world.
Tender felt so imaginative and wide and like a gift to its audience. All the elements of this performance’s creation synchronized into this beating harmony within the walls of Bush theatre. Its message of connectivity reached beyond its characters, through its incredible team, to the friends and lovers within the audience and to the living organism of theatre.
Tender runs until the 1 August 2026.