Review: The Homosexuals, Or Faggots (Griffin Theatre Company)

Venue: SBW Stables Theatre (Kings Cross NSW), Mar 17 – Apr 29, 2017
Playwright: Declan Greene
Director: Lee Lewis
Cast: Mama Alto, Simon Burke, Simon Corfield, Genevieve Lemon, Lincoln Younes
Images by Brett Boardman

Theatre review
Faggots are a kind of meatball dish, but the word is not usually used for that particular meaning. Like the n-word and the c-word, we have learned that some language has to be curbed, due to the power it exerts over the disenfranchised, who have to be protected from the cruelty that linguistic ammunition can brandish.

In Declan Greene’s important and ultra-modern work, The Homosexuals, Or Faggots, we investigate the nature of this constraint, not only in how we speak, but also in the lived experience of how we negotiate with each other’s positions in society. It is a discussion about the levels of privilege different groups of people are perceived to be inhabiting, and the layers of truth and illusion within those differentials. We think of each other as being certain types of people who exist on various hierarchical levels, but these can be misconstrued.

Warren and Kim are an inner-Sydney gay couple, both white and cis-male*. Having emerged from the systematic prejudice of homosexuals in earlier decades, they are now a part of the establishment; wealthy and entitled. Being the first generation of gays who live openly and free from persecution, their lives are self-imagined, with no prior examples to emulate. Their values have to be invented, and what constitutes a good life becomes a confusing ordeal. New to being top dog of Australian society, they are expected to be compassionate and altruistic, having tolerated insistent subjugation in previous years, but the couple is engrossed in their newfound prosperity, unable to behave in accordance with the responsibilities required of them, or are perhaps simply oblivious to their own elitism.

It is a highly intellectual exercise, dressed up in a lot of low-brow theatricality. Inspired by classic European farce, the show is rowdy, rude and ridiculous, but each of its uproarious manoeuvres is meticulously informed by the progressive politics that burns at its core. The audience relates to the work with a demanding complexity, laughing at every antic but engaging intimately with its cutting edge ideas. The action happens very quickly, and our minds are in a frenzy trying to decide right from wrong, real from false. Director Lee Lewis leaves us no room to breathe, insisting that we are swept up in the anxiety-fuelled mania, of her timely and accurate portrait of life in Sydney, 2017.

The hysterical and sweaty ensemble gives us everything. Simon Burke’s portrayal of middle-aged hedonism is as frantic as the cocaine that cushions his luxuriant existence, and although the production provides little room for nuance, his Warren is a character many of us will find familiar, convincing and unexpectedly sympathetic. His husband, Kim is preoccupied with all things academic, but much as he thinks intently about the world, he too lives on the surface. Simon Corfield’s exquisite performance of that duality is perfectly tuned, and incredible to watch. Also memorable is Genevieve Lemon as Diana, the only person on stage with a real soul. Confidently comedic, yet persuasively moving, Lemon makes us laugh and cry as she wills.

Political correctness may seem to be outmoded, but it remains a necessary protection against ignorance, wilful or otherwise. When we see idiots get voted into government, it is clear that hate is a form of currency that never stops working. The harmful things that people say, do in fact benefit those who trade in fear and stupidity. It is understandable then, that those same people would want to expand the parameters of concepts around freedom of speech. This week, our Caucasian Prime Minister is trying to make it permissible that we use racial differences to offend, insult and humiliate each other. We should never be surprised when the powerful wish to extend their dominance in the world, but when those who have benefited from the fruit of arduous social movements refuse to give back after their ascendancy, the disgust is intolerable.

*Read about cisgender at Wikipedia.

www.griffintheatre.com.au