Following a critically acclaimed West End run, Jon Brittain’s bitter- sweet comedy ‘Rotterdam’ which debuted in 2015, is embarking on a UK tour and I was so glad I managed to catch it at Theatr Clwyd during its short run there (3-5 June). It is especially refreshing to see a topic explored, and normally under-represented in the theatre, namely the difficulties faced in coming out as a transgender person. It’s New Year in Rotterdam and Alice has finally plucked up the courage to email her parents and tell them she is gay. However, before Alice can hit that send button, her girlfriend Fiona reveals that he has always identified as a man and now wants to start living as one named Adrian. What follows is an extremely touching story featuring a new cast, essentially a four-hander, including Rebecca Banatvala who faced with this new situation, is hugely admirable in playing an anxious, somewhat of a stress-head and exposed Alice. The chemistry between Banatvala and the exceptional Lucy Jane Parkinson who plays Fiona/Adrian certainly packs a punch and shows a real rawness and vulnerability, especially for Parkinson, whose character is going through this very emotionally painful and confusing transition.
Brittain’s script is utterly captivating and brings with it a freshness, a truthfulness and an edge that I haven’t witnessed on the stage like this in a long while. Not only is the script moving, yes, I had to wipe the, erm, grit from my eye on more than one occasion, but it is also a very funny script in parts too. A perfect balance that stirred many of my emotional senses. I’d like to quote some of Brittain’s own words here;
“I like to think that theatre can go some way towards healing divisions, fostering understanding and expanding our capacity for empathy”
Directed by Donnacadh O’Briain, whose production of ‘Rotterdam’ won the 2017 Olivier Award for outstanding Achievement in an Affiliate Theatre, O’Briain pitches this in my opinion perfectly. Never in your face voyeurism but directed with the delicate yet passionate hand this topic deserves. The set and lighting designed by Ellan Parry and Richard Williamson respectively were gorgeous, you were surrounded by neon pinks and baby blues and it wasn’t missed on me the assumed gender influences hinted at there. As a huge music lover, the superb electronic dance music choices made during the quirky scene changes were excellent. Who can’t resist a bit of Depeche Mode, Robyn, and Christine and the Queens amongst other great artist tracks. Keegan Curran, Sound Designer, hats off to you if you made some of those hot pick choices and which now thanks to friendly Technical Stage Manager, Kieran Enticknap I have the full Spotify ‘Rotterdam (Play)’ playlist!
The rest of the cast includes the brother of Fiona/Adrian called Josh, played with a wonderful calming, sensitivity and gentle manner by Paul Heath. I warmed to his character very much and thought I would like him in attendance at any of my own family disputes as he makes the perfect negotiator, helped even further with a sprinkling of his own unique style of humour. An excellent performance that brought with it a layer of softess to the grittier aspects of the play. Finally, we have the slightly ‘out there’ and with a fashion sense to die for, Lelani, Alice’s work colleague and played by the extremely charismatic and kooky Stella Taylor. Lalani begins to have a thing for Alice which further compliments her relationship with Fiona who now wishes to be called Adrian – does Alice get lured in by the charms of a new, uncomplicated passion or return to her own albeit stressful and confusing garden to water and blossom it with the potential to grow. Taylor gives a fine performance with an extremely watchable edge, also the accent work is to be commended, yes, a little slip only very occasionally but mostly excellent and still holding onto that truthful character whilst in accent is no mean feat. Here we see a shift in Alice’s uptight persona to one with a real headstrong attitude and one where she gains some power, it’s exciting to watch Banatvala change and go on her own personal journey of discovery.
For me the stand-out performance belongs to Parkinson who I believe felt every emotion in the portrayal of someone going through deep pain, and confusion. That, as her character tried to communicate, didn’t want to become a man, but just wanted to stop becoming a woman. All this with a huge capacity to love and a need to be loved back. With a strong determination to be who he is whilst transitioning, to be authentic and true to one’s self, I could really feel his love that we all crave, desire and wish for, and to just be accepted for who he is. Isn’t that true for all of us whatever our gender? The scene that has Adrian as he is now known in deep, raw and honest despair hit me hard, and was played well. Parkinson could easily have gone over the top, to reach that level of truth night after night in a theatrical run is to be applauded. There’s a little fighting too, and Rob Leonard directs well in scenes that have been professionally choreographed but as an audience member occasionally you can’t help but feel right on the edge of your seat wondering if that was a real punch there!
The play explores themes on relationship strains, to feel trapped and confused, possibly even stuck in a rut, something that could be akin in any heterosexual relationship. Indeed, a play that yes, has a running theme of transgender issues, but underpinning all this is a humanity, is a play that you cannot help but be moved by whatever your sexual orientation. The desire to be true to yourself, to be authentic and real. To feel accepted and loved above all else, even if it means change is necessary. I feel this is what I took away with me from watching ‘Rotterdam’ the real root theme here, which is simply love, after all love is love no matter what.
I genuinely wanted this story to have a happy ending. Did it? Well I would strongly encourage you to go and see for yourself.
Reviewer - Mary Fogg
on - 3/6/19
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