(seen at the afternoon performance on 5th November 2025)
Alan Hollinghurst’s novel on which this play is based passed the monkey by. The 1980s horrific loss of (mostly) young, gay men to A.I.D.S, and the callous manner in which they were treated by society, did not.
From Jack Holden’s adaptation, it is clear why the story of young post-graduate Nick (Jasper Talbot) moving into the London home of best friend Toby (Lee Suter) and his wealthy family touched so many.
Achingly honest about the period when “gay” was taboo to unimaginable degree, and nobody thought to warn anyone what was happening in their community, the recognition is a strong history lesson and reminder of something we must never repeat.
The problem is that this stage event could just as easily have been a beautifully produced audio book.
Casting is top notch. Talbot is an ingratiating chameleon experimenting with his life and his effect on that of others.
Best friend Suter provides the Upper Middle-Class beefcake, hinting at what may be happening emotionally but never revealing. A holiday scene is excruciating for both friends.
Ellie Bamber as sister Cat models some attractive Christopher Oram designed outfits – and is given the most animated role as a bi-polar self-harmer, before society began to understand the condition. The stage gains much needed energy during her appearances.
Parents Gerald and Rachel (Charles Edwards and Claudia Harrison) are decently sketched stereotypes. We recognise the Tory politician and confused wife. Even more so sleazy millionaire Derek (Robert Portal), who reminds us perfectly of the era.
Add in an affair with a secretary, secretly gay son in religious family, well-heeled louche trustafarian caught in a web and the novel is complete.
Sadly, the same cannot be said of the stagecraft. Michael Grandage directs at page pace. You can almost feel yourself turning the paperback wood pulp. This is not a good thing.
Scenes arrive and depart in paragraphs, with some horrible re-shuffling on stage between. One moment a quick one behind the compost heap, the next moment the actors are scurrying off stage like disturbed rats in semi-darkness. He used to do it so much better at the Donmar.
Things shuffle along until a modest display of emotional fireworks; a not unexpected cliffhanger leaving Talbot standing in the light of the future. Or not. We will never know.
What could have been a truly deep reminder of how far we have come, instead is something pedestrian. Strong casting, strong tale, but nothing is added by staging it live, alas.
3 stars
Photo credit: Johan Persson. Used by kind permission of the Almeida Theatre.