“Gay, precocious and mentally unstable from an early age.” That’s how Simon Jay is described on the back of his memoir, Bastardography, and it’s also an apt description of his one-man show of the same name on at Theatre N16 in Balham. Jay hand picks a selection of experiences from his youth whether it’s a fellow kid turning a DIY flamethrower (Lynx can + lighter) on him for being gay or his obsession with the film Psycho and not forgetting his many dalliances with psychiatrists, psychologists and nurses as he skirts Borderline Personality Disorder. The result is a revealing romp through recent history with one of the funniest guides.
Jay isn’t even 30 and this isn’t his first show – his unique take on America’s latest
dictator president, Trumpageddon, sold out at the Fringe before hitting London, he’s put on a musical about a girl with a robot arm and he even collaborated with me on a series of monologues called Universally Speaking (they were particularly good) – but what’s most impressive about the guy isn’t his talent in directing, acting or writing, no, it’s his resilience. That the world threw so much shit at Jay and he turned it into this really rather fabulous production is testimony to his strength. He cracks many a joke, disregards the fourth wall, points out his penis collage, attempts to circle the stage in heels, is candid with his experiences and does all this to a soundtrack of Pocahontas, Glenn Miller and film quotes. Tickets here!
Margaret Thatcher spoke at the start of the play and her words stuck with me. It was her famous speech of 1987 in which she bemoaned the fact that “children are being taught they have an inalienable right to be gay” and subsequently “cheated of a sound start in life.” The next year she introduced a number of anti-gay laws including Section 28, that forbade any school from teaching that homosexual relationships are ‘acceptable’. Jay was born in 1987 and I was born in 1988. The law was eventually repealed in 2003, when I was fifteen. I wonder what it might have been like to grow up in a world where I had role models and cultural narratives to turn to and I imagine Jay wonders the same thing. Perhaps if things had been different we wouldn’t have been cheated of a sound start in life. So kudos to Jay for turning a legacy of hate into a queer, creative, mental health odyssey that, whilst very dark at times, always shines with love.
Angels In America: A Gay Fantasia On National Themes is an epic play. It’s epic in length: together Parts 1 and 2 come to some eight hours of stage time. It’s epic in theme: it combines the AIDS crisis with Reaganite politics with tales of migration with unrest in heaven. It’s epic in presentation: angels descend from the skies, burning books rise through the floors and ghosts prance about on stage. It’s so epic in fact that I think it counts as a modern-day myth – it hones in so painfully close on the intimate details of the characters’ unhappy lives that we end up passing through their blood cells only to see stars. Not to mention its exploration of the history of the Jewish people in America, the impacts of the religion of neoliberal capitalism a la Reagan and the pain of being homosexual in a straight man’s world. Not forgetting the ghosts, heavenly hosts and valium-induced trips to Antarctica either! That really is epic.
I saw Part 1 at London’s National Theatre last night. It comes in three sections (we had two intervals!) and I’d say the first third is pretty tepid as the odd set of giant Lego-like structures jars with the up-close introduction to the protagonists. The second third gets a little warmer as the actors get into role (and I stopped comparing it with the epic HBO series which had Meryl Streep, Al Pacino and Emma Thompson, tough to beat), even if they did rely a little too much on shouting at other. It’s the third third that blew me away as the seams of reality start to unravel, the Lego bricks get pushed backstage and the sh*t hits the fan. This is when the epic got epic.
Set in 1985 and written in 1993 Angels In America is, in many ways, a period piece but one that still resonates today. It explores the early years of a politico-economic order that we have inherited and isn’t doing well. As one character tells us towards the end of Part 1, “History is about to crack wide open. Millennium Approaches.” So we’re living on the other side of Millennium and very much plunging into the crack, and not the sort of crack you might plunge into on a night stroll through Central Park. Whilst some of the characters appear to be cliché, for example, Belize the sassy, black drag queen (who only gets to steal one scene in Part 1 but will come back with a vengeance in Part 2), I think kudos is due to playwright Tony Kushner for inventing these clichés before they were clichés. However, I think both these concerns are reminders that we need more gay fantasias, lots more. Queer ones too and lesbian and trans and asexual and intersex and as multi-coloured as possible. We also need plays to remind us that today many people live with HIV and live very happily. Of course, many do not and the medication is still not widely available and there is just far too much stigma, as Angels aptly demonstrates. And that’s the thing about myths, while they are embedded in a certain time and place, say, Ancient Rome, a galaxy far, far away or 1980s New York, and focus on certain people’s lives they have the ability to transcend all this and echo throughout the ages. They appear universal because they tap deep into the human condition, a condition that might regularly change its clothes but still beats the same, dark blood. We might learn our lessons one day but in the mean time we can dance with those angels in America (bring on Part 2).