Writer: Josh Maughan
Director: Joshua Dowden
A sweetly tender and politically feisty drama about the early LGBTQ+ movement in London, treads familiar ground but is a welcome reminder of how far the movement has come and how far it has to go. Although slightly hampered by some odd production choices and mismatched research, it is anchored by an enjoyable earnestness and two lovely performances.
1971, and in the new decade Andy (Josh Maughan) and Benjamin (Peter Hadfield) are just starting out at university. Their arguments in class soon evolve into a relationship that allows both of them freedom whilst highlighting the tensions between idealism and realism, the difficulties of rebelling against established rules, and how solidarity can lead to change, all leading to the first Gay Pride in 1972.
When Maughan, writing as well as starring, delves deep into the relationship the play shines, highlighted by the clear chemistry between the two leads. Maughan and Hadfield sell every beat, Maughan utterly convincing as the tense but sparky Ben, and Hadfield a worthy foil, both brimming with self-assurance and vulnerable.Less successful are the play’s politics, which whilst presented earnestly sometimes feel like a CliffNotes version of the truth and fails to tap to the heart of the power of the GLF movement and the extent of homophobia at the time. Sometimes Ben and Andy seem to have it too easy: Ben’s mother in particular is extremely accepting, and due to the nature of the two-person production the threat of the outside world seems far off. However, by focusing these issues through the relationship, Maughan can lightly explore the effect of these events on individuals, educating the audience without resorting to exposition. But the central relationship is the crux of the play, and it is when we’re drawn into Andy and Ben’s bantering, bickering, love-making and arguments that the writing takes off, rather than when they’re consistently debating the value of their commitment to activism.
Some odd production choices are also noticeable: the show starts with a montage of contemporary American homophobia, which whilst notable both in the real world and the context of the story feels strange when contemporary British perspectives are freely available. So too with cultural references: having Gloria Gaynor’s I Will Survive play in a show set six years before it’s release is an understandable but inconsistent production choice, and it’s unlikely that the film of A Streetcar Named Desire would’ve been easily available at the time. The projections are however on the whole effective, especially during the immensely affecting ‘Cabaret’ sequence, where writing and Joshua Dowden’s direction collide in a sublime dramatic (in all senses) moment, and the inclusion of the audience in the final scene is a lovely theatrical gesture of solidarity.
Our 1972 doesn’t break any new ground, but it does offer a strong reflection on early LGBTQ+ activism that should be shouted about. Inconsistencies aside, the show presents a charming look at young love, sexual discovery and political awakening, reflected through a beautifully drawn central relationship and equally outstanding performances.
Runs until 6th January.
