Theatre 503 – until 3 February. Reviewed by Claire Roderick
4****
Lughnacy’s debut production is a charming relationship comedy drama that ensures the audience leaves with a definite warm and fuzzy feeling.
Bea (Orla Sanders) is dating the much younger Ellie (Leah Kirby), and is happy when they are together, but keeps her at arm’s length and will not commit fully to their relationship. At Bea’s birthday party (planned by Ellie), she sits alone and strikes up an awkward conversation with transvestite Jemima (John James). Intrigued by Jemima’s apparent self-awareness, confidence and charmed by her wit, Bea begins to meet with her, much to Ellie’s disgust. Once they spend the night together, Bea realises that she is attracted to Jemima, not James, and withdraws from both relationships.
Writer Joanne Fitzgerald has created three memorable characters, with Jemima flirty and bristly as a form of self-protection, and looking and acting much younger as James without his armour of makeup, but ultimately demonstrating a more empathetic and caring nature than either woman. Ellie is a complete pain in the backside, with her obsessive planning and future mapped out, but again Fitzgerald peels back the layers, with the help of alcohol, to reveal their neediness and loneliness beneath. Bea at first comes across as selfish and a bit cold, but again Fitzgerald reveals the mental anguish behind her actions as the play progresses.
Of all the flawed characters, Jemima/James seems to be the happiest in their own skin, and the gender politics and prejudices of their situation is never overstressed in the script. The pauses and glances say much more than words, and the tone never becomes preachy – Fitzgerald trusts the audience to grasp the play’s message themselves. The dialogue is witty and sharp, and even though some jokes are near the knuckle, you never feel that you are laughing AT the characters.
The cast work well together, with fine performances all round. The cast all excel in the latter stages as their characters are stripped of artifice. The ending leaves you hoping that these three lost souls have finally found the family they deserve.
This is writer Joanne Fitzgerald’s first full-length play, and it has great potential. I liked the simple uncluttered design and the moving panels, whether they were meant to symbolise Bea’s compartmentalised life or simply to show the shape of the room, the choreographed movement worked well most of the time. The Latin beat and dancing between scenes was a nice touch too, but, for me, slightly overused. With a little less business between scenes and perhaps a few additional scenes that expand on Bea’s past, this could be a tighter and even more satisfying production.
Him Not Her is only running for one week, but hopefully we’ll see this play again soon, and I am looking forward to seeing more from Lughnacy Productions.