REVIEW: Jock Night

Rating: 5 out of 5.

A fly on the wall exploration of the simmering tensions and boiling points of the gay experience in modern day Manchester.

Adam Zane’s explosive, steamy, heart wrenching play “Jock Night” opened at Seven Dials Playhouse this week. I felt very lucky to be witnessing this production in its freshest, rawest form during its first week of previews. 

The play opens as we are fully thrust into the ChemSex culture that pulses through the gay community and will continue to ruminate throughout the piece. The characters are engaging in what appears to be exciting and steamy intercourse, you initially think it’s just two, Russ – the Gym Bunny, who starts rapidly gaining instagram followers as the play develops – and AJ – 19 years old, inexperienced, fresh faced and embracing the chaos. However, after a beat, we realise Kam – self proclaimed as undetectable and fabulous – is also joining in in the fun. And so the actors engulf us into their world. There is a sense that these characters are moths round a flame, flying, constantly chasing the next hedonistic high… However, when will it be enough? What event will have to occur to push them to stop chasing the chaos and filling the void within them? 

The audience immediately adapts to the nudity, as we soon realise that this play is going to tackle something much darker than what appears to be on the surface for these characters: a fabulous non- stop party with sex and a concoction of substances: MDMA, Coke, Ket, G and to finish off – poppers. When Kam gets triggered by AJs off the cuff question “you’re all clean yeh?” Kam is undetectable – This means the levels of HIV he has are so low that the virus cannot be passed on. AJ, ashamed of his naivety, leaves the party. 

All the characters are vibrant and beautifully written, a testament to Zane’s work, as he also directed the piece. 

This is a masterclass in acting. Sam Goodchild (Kam) is incredibly watchable, fabulous in his own right, but quick to anger. There is a sense of claustrophobia, as we are always in a flat. The set largely stays the same with different add ons to the bed to suggest the time of year (a pride flag in August for – as Kam announces, ‘gay Christmas’ and fluffy blankets at actual Christmas.) 

The heart and soul of this play lies in the ark of Ben (played by David Paisley with such tenderness and passion.) The audience rooting for him, falling in love with his kindness and his thoughtful and caring nature. He is daddy, the oldest of the group, and falls into a relationship with “porn performer” Simon, played by George Hughes, who gives a fiercely firey portrayal of someone trying to find their identity (and financial stability) in a world which consistently makes them feel out of place. 

The writing is funny, the pacing was terrific, and there’s a bouncy, enigmatic back and forth between the actors… there’s always a back handed comment drowned in sass to be offered.

It truly was a marvellous, enthralling evening of entertainment. 

Catch Jock Night at the Seven Dials Playhouse until 11th November (extended due to popular demand).

REVIEW: Black Superhero

Rating: 3 out of 5.

This ambitious debut on gay relationships and superhero culture has trouble soaring.

Relationships are hard. Relationships where your partner can turn into an aviary superbeing with the ability to make you climax at will are harder.

Danny Lee Wynter, most known from his Olivier-nominated performance in The Normal Heart at the National Theatre, leads the cast of his debut play at the Royal Court as they wind down towards the end of Vicky Featherstone’s excellent tenure as artistic director. BLACK SUPERHERO, directed by Daniel Evans, focuses on David, an actor whose middle-aged woes melt away when he begins seeing King – a fellow actor but with much more success thanks to his Marvel-esque role as superhero Craw. David’s fascination with and idolisation of King leads him down a path of drink, drugs and debauchery.

There are great performances across the board. Wynter is relatable as the awkward and vulnerable David, an empathising mix of hope and worry as he is whirled through the glitzy and glamorous world of King, played with coolness and confidence by Dyllón Burnside. Rochenda Sandall and Eloka Ivo are strong voices of reason as Danny’s sister and friend respectively, providing more totems of strength for Danny to shrink in comparison to. A nod must also be given to Ako Mitchel who gives a show-stealing turn as studio exec Kweku at the show’s nightclub climax

There is striking lighting design from Ryan Day, a bold set of LED triangles that encircle the characters with an angular edge. There are also heightened superhero sections whose dark, sullen lighting feels evocative of Robert Pattinson’s The Batman, however there are large parts of these sections where we lose characters’ faces and a frustrating amount of action. The movement during these sections also feels underbaked and doesn’t quite match the grandeur of the staging.

Wynter’s writing holds a lot of promise – and does a good job of dissecting the tension amongst gay friendship groups and the long arm of trauma – but its lopsided structure lets it down. The overlong first act lingers too long on slightly toothless conversations, feeling like a pale imitation of Patrick Marber’s Closer, and whilst the second act does ramp up the energy and stakes, you’re left wondering why the story started halfway through. On top of this, its reliance on pop culture references and wink-wink references to London boroughs does start to tire as it hits the two-hour mark.

The creativity and ambition of this production are to be admired but its pacing issues hold it back from matching the Court’s stellar output of late.