Innovative and fun, this classic yet campy romcom perfectly encapsulates queer characters in a contemporary way
The combination of a Voltaire and Casanova-inspired Sapphic Venetian adventure genuinely sounds too good to be true. Alas, it is not. The Hope Theatre transforms into a marvellous den of iniquity as we follow two sensationally performed characters. We follow Adine (played by Lu Kyriacou), a crossdressing sailor who has returned to Venice to finally woo his aristocratic love, Dorfise (played by Lula Janhangiri). The problem is Dorfise has been enjoying carnal visits with Jacques (played by Autumn Shields)- a character clearly based on Casanova. Jacques has to propose to Dorfise in order to extort money from her to pay compensation she owes to Adine. Adine meanwhile is full of honesty, integrity and an endearing sense of naivity as he tries to navigate rakish Venetian society in the 18th Century.
At once both guided by classical text as well as modern creativity, the script is so sharp you could fence with it. Despite being presented as a campy lesbian romcom, both Adine and Jacques – who are women presenting as men to further their own identities and desires in a patriarchal society – play their characters completely straight (as it were). There is sincerity to their acting and both characters are utterly absorbing; there is a genuine sense of investment in their journey. Adine is unsure of himself, coming to terms with the loss of Dorfise to the more experienced Jacques, whilst arrogant, witty Jacques takes Adine under his wing to explore his own sexuality and all that life can offer in such a debauched society.
Costume and lighting are deployed with creativity- low lit reds to denote sexual undertones combined with shimmering textured fabrics full of movement and colour. The different ways blouses, waistcoats and breeches are used to convey masculinity and power are excellent. At one point during a fight sequence, the lighting hits the actors so perfectly in an exaggerated pose that for a moment the scene looks like an accidental renaissance painting.
Music too, is integral to the production. Baroque flourishes underpin the restrictions of Venetian society, but far more interesting is the use of dark techno beats, thumping away with colourful strobe lights to signify when Adine is having hallucinogenic visions, depicting a dreamlike terror as he tries to fight traditional imagery of masculinity against the realisation of his feminine origin. Ensemble characters surround him, taunting him with stereotypical male props such as a drill or a sword. This serves as a clever scene transition purpose towards the finale, a satisfying twist full of campy fun and modern references. The show is peppered with sass and comic timing; the ending an uplifting vindication of Adine and Jacques’ personality arcs.
The theatre was as packed as the script, audiences clearly enjoying and responding to the humour and thoughtful performances. If anything can be considered further by the team, perhaps increase the use of modern music and lighting to emphasise the metaphor of Adine’s struggle, using harsh liminal spaces to denote introspection and an altered state of mind.
This show is a pint size slice of theatrical perfection. One hour of fun, insightful drama tackling classic characters through a contemporary, sexually charged lens. Exactly the kind of fringe theatre you love to see.
The Adventurers was performed as part of the North-Sapph Fest at The Hope Theatre, London on 19th-20th August 2026.