Writer: Ed Cooke
Director: Giulia Hallworth
LGBTQ+ plays are becoming a firm fixture of London’s theatre landscape. New writing showcases such as the VAULT Festival as well as countless pub and fringe venues are undoubtedly making a positive contribution to queer theatre. Many of these plays seem to fall into two categories: trauma associated with sexuality or coming of age and accepting and embracing one’s sexuality. An Apology to Lady Gaga successfully intertwines both and crucially manages to do so with a sobering authenticity. The result is a wonderfully naturalistic, open and honest depiction of what it is to be a gay man in 2023.
Tim (Nefyn Edwards) and Matty (Ed Cooke) regale us with anecdotes of how they were reunited in a gay club as Lady Gaga was playing. While Tim is out and proud, Matty is less accepting of who he is and reluctant to embrace gay culture. Adopting what he deems to be a manly voice when in public, Matty is entranced by Tim and can’t help but let his façade fall when in his presence.
From the off both characters employ direct address, affording the audience a suitable degree of intimacy. The technique also allows an almost voyeuristic viewing experience throughout the 50 or so minutes. With only a sofa on the otherwise bare stage, this is very much about the dialogue and characterisation. Cooke also wrote the play and it is clear he, Edwards and director Giulia Hallworth are completely invested, fully believing in the characters and what they represent as well as the urgent subject matter being explored.
There is a lot of heart here, but a refreshing rawness permeates. The laughs come early but the humour is always character driven and all the more effective because of it. Cooke’s script is littered with colloquialisms and pop culture references, which again permit it to feel fresh and current. We hear Ru Paul’s Drag Race as Tim explains how it is essential viewing material for gay people, much to Matty’s amusing aversion. The cult-classic LGBTQ film Call Me by Your Name is also referenced along with the recent Netflix hit Heartstopper, which Matty argues is simply not true to life. His cynicism and disparagement of gay culture is a far cry from Tim’s comfortable relationship with both himself and his community.
Although not too overt, themes of self-hatred and internalised homophobia pervade and dictate Matty’s outlook on gay life and he is moored to his past experiences rather than fully welcoming his present and potential future. His mother did not react well to his coming out and they have essentially been estranged for five years. The character inevitably struggles to separate the trauma he associates with his sexuality and the aspects of his life and his relationship that he can appreciate. With Tim, who was clearly gay from the age of four, being the polar opposite in terms of outlook and attitude, a great deal of comedy is created. However a serious subtext underlines and at times threatens their relationship. Tim cannot compute why his partner is so conflicted and even anti-gay. He worries when Matty occasionally disappears and is concerned about his partner’s fragile mental state.
When Tim opens up about his own childhood, admitting such things as downloading his cousin’s music so people didn’t notice his female dominated ‘gay’ playlist, Matty and the audience learn that his journey has not exactly been plain sailing. There is more to both characters than meets the eye and this is what enables the audience to become so quickly entrenched in them.
While Tim wants to adorn their sofa with a rainbow throw, Matty argues it can’t paint over the pain and suffering that so many gay people have experienced. He talks of various gay celebrities with addiction issues and brings up the fact that many queer people take their own lives. He questions if being gay is a choice or if we really are born this way. He interrogates the idea of pride and argues that gay pop culture is nothing more than a trauma response. He is not proud.
Heavy themes are packed into this short production. This ensures the pace flows rapidly, however a future incarnation of the play could perhaps delve deeper into certain topics. This is far from just a blueprint, however. Cooke proves himself a strong writer who effortlessly balances light with shade. He and Edwards share an undeniable chemistry, which elevates proceedings. They are incredibly convincing as two people who deeply care about but also struggle to understand one another. In such a succinct stint we feel we know these characters and although the performance closes on a positive note, it almost feels a shame that our time with them has ended.
Runs until 16 February 2023
