Next Lesson by British playwright Chris Woodley.
Blood will boil as the voiceover hints in the dark at the beginning of Next Lesson by British playwright Chris Woodley. It’s an audio clip of Margaret Thatcher and the topic is homosexuality in schools. Stamping out any mention of alternatives to heteronormative behaviour or lifestyle is an imperative of political will with Thatcher’s government and ‘Section 28’ is designed to closet students and teachers alike. England is burning with dissent as Thatcher takes aim at the poor and the working class and the Unions. Some targeted groups could mobilise but others were societally powerless.
Each scene in this play brings the narrative further into focus as it travels a linear timeline with Michael, from the age of 14, through love and loss, to manhood. Beginning in 1988 when 28 is enacted and Michael comes out to his ‘don’t you dare tell your father’ mother, the play has considerable complexity in the way it engages the audience. Some will remember and make the journey of the play to 2006, others will sit horrified until a date of recognition appears.
This cast is a true ensemble with the four performers playing multiple roles. As Michael, Michael Brindley hits the surly adolescent of the first scene with the full force of passive aggressive body language and monosyllabism. But there, too, is the passion for words that will carry him to a career as an English teacher. Brindley brings a lovely mixture of strength and vulnerability as Michael endures and his work in the finale of the piece is beautifully moderated and gently expressed.
In that climactic scene, the skilled direction of Alex Bryant-Smith makes for a powerful ending where stillness is used to effect and soulful attention is drawn both to advances made and to lessons learned. Brindley and the other three cast have played many characters by this point in the production and have done so with the intelligent delineation and impulse design which layers complexity inside Next Lesson. And foregrounds the effect of repression on individuals.
Sonya Kerr really shines in the role of Sam where she gives full reign to the universal tensions of domestic relationships and professional frustration in an era when same sex attraction was emerging from suppression. Jens Radda is obviously having a great time with some of his characters and his homage to the bitchy queen is hilarious and heart-warming. It really struck a chord with the audience. As did a superbly interpreted monologue of baby dyke proportions and import from Kat Tait as an adolescent Chloe.
Designed by Sallyanne Facer, the production uses a chalkboard backdrop to give an analogue representation of time passing and which also provides Easter Eggs to add to the comic tone. Some scenes are great fun to watch, the locker-room for example, and remind us of the joy in the queer experience. It’s quite a funny play and the laughs come often but the seriousness of the hatred is never lost, especially in the media grabs that precede each new scene. These are well sourced and edited, providing an accessible key in to the next scene, the next lesson.
This well acted and directed production puts forged rights on stage in an emotional and warm reminder that the parallel Australian experience has creep rather than explosion and that vigilance is required.
4 stars ★★★★
NEXT LESSON
Director: Alex Bryant-Smith
Cast: Michael Brindley, Sonya Kerr, Jens Radda, Kat Tait
Costume/Set Designer: Sallyanne Facer
Season Lighting Design Mehran Mortezaei
