Standing on Ceremony - The Gay Marriage Plays

Standing on Ceremony - The Gay Marriage Plays
Written by Mo Gaffney, Jordan Harrison, Wendy MacLeod, Paul Rudnick, Doug Wright, Neil LaBute, Moises Kaufman and Jose Rivera. Directed by Wayne Pearn, Helen Ellis, Russell Fletcher and Justin Stephens. Ellis Productions. Chapel off Chapel. 23rd January – 9th February, 2014.

One of the two most eagerly awaited productions of Midsumma, Standing on Ceremony – The Gay Marriage Plays  just tips the scales for sheer rich entertainment value that also has you leaving the theatre in impassioned discussion. It’s hard to believe that there are still people who balk at the very idea of same sex marriage. They are the ones who should go to Chapel off Chapel and see this production. Unfortunately it’s highly unlikely that they will, and that’s a tragedy. Whilst it might not change anyone’s mind, it most certainly presents new insight and reassurance that there is nothing for the “straight” community to fear. People are people, and love is love, regardless of gender, race, or religion. And shouldn’t all love be allowed the ultimate commitment?

The cast is exemplary throughout, sometimes surpassing the actual material. The nine short plays, mostly monologues or two-handers, are written by some of Broadway’s brightest and most renowned playwrights. Whilst they are all entertaining, some miss a golden opportunity to actually say something of real importance (even subtextually), and become lightweight vignettes about gay couples (not that there’s anything wrong with it). Doug Wright’s “On Facebook”…taken almost entirely from the text of a Facebook thread … shows how insidious and covert prejudice can be. Directed flawlessly by Justin Stephens, the laughs come accompanied by a punch to the guts and Pia Miranda is outstanding. At the other end of the scale Paul Rednick’s “The Gay Agenda” is basically a monologue beautifully performed by producer Helen Ellis (with a brief appearance by Brett Whittingham) and here the prejudice is overt but apologetic. It’s very funny stuff but ultimately Ellis’ character needed a sharper arc towards outright hatred to make the point about what lies beneath the surface of our “enlightened” thinking.

Then there are the “serious” plays; the poignant, the moving, the gently confronting …the ones capable of changing our perception forever. The first of these is Neil LaBute’s “Strange Fruit”, a deeply honest and emotional account of two men, so very different, who fall deeply in love and get married “the old-fashioned way” only to have their dream end in senseless violence. LaBute is in top form, the script is beautifully measured, the performances by Spencer McLaren and Brett Whittingham are superb and lighting designer Scott Allan surpasses himself with an effect which, by lighting alone, shows us death at close range. The play runs no more than perhaps 10 minutes, yet it encompasses two lifetimes and is totally satisfying in all respects. By the time we reach the last play but one, “London Mosquitoes” by Moises Kaufman (The Laramie Project) we are wondering why the illustrious Michael Veitch is part of this stellar cast. However, as the Jewish widower giving the eulogy for his lover of 48 years, Paul, he is superb. Veitch finds an emotional truth that left the audience in tears, and the piece is beautifully directed by the talented Wayne Pearn. The revelation that after 40 something years Paul did not want to marry, because it would negate all the years that had gone before, is a gentle counter argument that it is the love that counts, not the word marriage.

The final offering by Jose Rivera – “Andrew and Pablo At The Altar of Words” – involves the entire company in a gay wedding ceremony. Though it is joyful and witty, this play also packs a gentle punch filled with measured argument as the two say their heart-felt vows, beautifully written but enforcing once again that people who love each other have a right to say so; yes, even before God.

Justin Stephens’ set is a triumph….a “brick” wall of white polystyrene boxes, it works as a screen for the projection but also comes down a few bricks at a time as we, the audience, become more enlightened and mutual trust is established. Very clever. There are musical interludes by fine musicians David Ellis and Karl Lewis (how great to see a drummer hold his left hand stick in the old jazz manner) and Laura Burzcott provides vocals on mostly jazz standards, though perhaps Etta James’ “At Last” would have been better left alone.

It would be churlish NOT to praise the entire cast by name. They are Michael Veitch, Brett Whittingham, Olivia Hogan, Spencer McLaren, Pia Miranda, Luke Jacka and Helen Ellis. This is outstanding entertainment and the wonderful Chapel off Chapel is the perfect theatre.

Coral Drouyn

Images: Brett Whittingham and Spencer McLaren, Pia Miranda, Olivia Hogan, Michael Veitch, and Spencer McLaren, Brett Whittingham and Luke Jacka. Photographer: John Shelbourn.

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