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. The final offering by Jose Rivera – “Andrew and Pablo At The Altar of Words” – involves the entire company in a gay wedding ceremony. 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. Veitch finds an emotional truth that left the audience in tears, and the piece is beautifully directed by the talented Wayne Pearn. However, as the Jewish widower giving the eulogy for his lover of 48 years, Paul, he is superb. 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. The play runs no more than perhaps 10 minutes, yet it encompasses two lifetimes and is totally satisfying in all respects. 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 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. Then there are the “serious” plays the poignant, the moving, the gently confronting …the ones capable of changing our perception forever. 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. 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. Directed flawlessly by Justin Stephens, the laughs come accompanied by a punch to the guts and Pia Miranda is outstanding. Doug Wright’s “On Facebook”…taken almost entirely from the text of a Facebook thread … shows how insidious and covert prejudice can be. 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). The nine short plays, mostly monologues or two-handers, are written by some of Broadway’s brightest and most renowned playwrights. The cast is exemplary throughout, sometimes surpassing the actual material. And shouldn’t all love be allowed the ultimate commitment? People are people, and love is love, regardless of gender, race, or religion. 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. Unfortunately it’s highly unlikely that they will, and that’s a tragedy. They are the ones who should go to Chapel off Chapel and see this production. It’s hard to believe that there are still people who balk at the very idea of same sex marriage. 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. Directed by Wayne Pearn, Helen Ellis, Russell Fletcher and Justin Stephens. Written by Mo Gaffney, Jordan Harrison, Wendy MacLeod, Paul Rudnick, Doug Wright, Neil LaBute, Moises Kaufman and Jose Rivera.
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