REVIEW: Guest Reviewer Kym Vaitiekus Shares His Thoughts On JORDAN SEAVEY's Newest Play

Wednesday 7th February 7:30 pm 2024, New Theatre Newtown

As part of the Mardi Gras season Director Alex Kendall Robson brings JORDAN SEAVEY's  HOMOS, OR EVERYONE IN AMERICA to the New Theatre stage.

Set in the boroughs of New York HOMOS, OR EVERYONE IN AMERICA is the story of how the Writer (Reuben Solomon) and the Academic (Edward O'Leary) meet and how their relationship unfolds. Their timeline jumps back and forward to juxtapose how key elements impact the two men as they navigate the way through the trials and tribulations that intimacy brings.

 

This work follows many known gay challenges:  homophobia, gender orientated mannerisms, fidelity, openness, coming out, desires and partying. 

The two men meet in a bar, they negotiate the awkwardness of an initial meeting. The negotiations continue as they discuss others being a threat to where their desires lay. The accuser becomes the perpetrator. Axel Berecry is spot on as he embodies the character Dan, the friend that innocently upsets the apple cart to then become an apple. Sonya Kerr as Laila beautifully commands one of the gem scenes of the night. Her comedic timing sets off the heartfelt scene.

Solomon and O'Leary hold fort with a forceful presence and an impressive command of the lengthy and wordy script.

Production Designer Zara Pittioni was inventive and effective with a set that using the features of the New Theatre stage. In conjunction with the lighting designer they have accomplished a stellar job in creating the many locations. In the future I would like to see this duo design together when they have more resources to draw on. 

 

There's a line in the  script where the Academic refers to the Writer as a gay Woody Allen. It this moment I discovered Seavey's goal in creating a New York banter scenario.

Robson could refine the pace in this production to have a more ebb and flow to fulfil this aim.

 A lot of the dialogue consisted of the two men yelling simultaneously, making it more like an inaudible argument. The shouting was relentless. Kudos to Solomon in keep  that vocal level for such a sustained period. 

Anger could be portrayed in other ways and can be more potent when it’s not a screaming match.

Solomon and O'Leary work well together but the emphasis on the vocal decibels lessens the emotion and chemistry between the two characters.  Without that spark, there is a reduced investment in the relationship. How these men operated in those arguments then became prominent theme. It's an exploration of how one perceives the other, the assumptions made and how our own  wants and desires influence how we behave. 

 

A young generation may find solace in Seavey’s script as they newly experience the challenges that gay people face along with the bumpy journey that intimacy brings for everyone.  Without an investment in the characters there fails to be a fresh approach or insight to these gay issues. 

 

It’s disappointing that these stories are still necessary and still important, that society is yet to move on. Maybe this production should be in a mainstream festival for it to garner and educate a broader audience. 

 

As this ensemble finds its groove this earnest and zealous production is an important work and one to check out.

Main image: © Zlata Kibalko/Shutterstock
Production images: © Chris Lundie

https://newtheatre.org.au/homos-or-everyone-in-america/

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