“You’re alright, alright?” Such words are gold dust when you’re young and unsure, thrown into the deep end of adolescence. From director Gemima Iseka-Bekano comes a fresh adaption of Jonathan Harvey’s Beautiful Thing, altogether a sweetly tender coming-of-age and a compelling comedy-drama.
The show spotlights the mingling relationships between neighbours living together in the microcosm of a South London estate, under the baking heat of an English summer. At the heart of the production is the tender love story of shy Jamie (Andrew More) and football-crazy Ste (Finlay Gilbert), whose friendship begins to blossom into something deeper as they spend more time with each other. And as they explore their identities, they must deal with the world around them; while Jamie struggles at school, Ste must avoid facing the wrath of his abusive father. Next door, the sporadic outbursts of a Mama Cass rendition permeate through the walls, where the passionate Leah (Emma Ward) examines her own ambitions, offering moral support in the form of retro wisdom and bubbly charm. Together, the two boys learn to embrace their queerness and realise the joy in it too. This production of Beautiful Thing is more than just a love story, but rather a slice-of-life show that delves into themes such as adolescence, ambition, family, and courage.
Particularly moving is the relationship between Jamie and his fiery, tough-loving mother, Sandra (Megan Crutchley) — it is at times prickly but ultimately a wonderfully compelling portrayal of parenthood. Sandra’s partner Tony (Zephyrus Pettitt), an odd-ball of a character, is always bound to get a laugh out of the audience. The events are staged in a courtyard, framed within peeling walls, colourfully painted doors and carefully arranged plant pots. This set design swiftly transports the audience deep into the drama. The more affectionate scenes unfold under the soft, intimate lighting of Jamie’s bedroom, tucked away into one corner of the stage.
Along with the set design and lighting, the dialogue has a natural flow to it, full of sharp humour and chaotic overlap. The performances feel genuine — a display of excellent cast chemistry, great comedic timing, and the ability to morph into vibrant characters with ease.
The final scene was certainly one to be treasured. It is a poignant and heart-warming conclusion to a play that, although dealing with difficult themes, ultimately celebrates the joy of being true to oneself, and learning how to love without fear.
Image by Chrissy Montague, provided to The Student for press use.
