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Theatre Review A profound meditation on loss of identity

The once controversial book A Single Man receives an excellent stage adaptation, writes SIMON PARSONS

A Single Man
Park Theatre

CHRISTOPHER ISHERWOOD, the writer whose novel inspired the musical Cabaret, always considered A Single Man to be the favourite of his nine books. This semi-autobiographical work follows a day in the life of a British expatriate gay man living in Santa Monica, post Cuban Missile Crisis.

Originally controversial because of its homosexual protagonist, the book is about far more than this and at the heart of Simon Reade’s excellent stage adaptation are the multiple roles George, the eponymous character, performs in facing a day unable to move on after the tragic death of his partner.

George, played with dignified restraint by Theo Fraser Steele, reveals moments of true anguish only when totally alone and caught off guard by his memories, otherwise his roles as college professor, freeway driver, friend and mentor allow him to continue to live for the moment reflecting on the world around him and his own identity defined not by the past or others but by what he knows.

The increasingly prosperous and urbanised Los Angeles is entertainingly recreated by the multiple roles of the outstanding supporting cast of four, as are the steward-like characters introducing and preparing George and the diverse range of individuals that fill his day.

Phoebe Price’s endearingly bubbly friend seeking drunken solace for her own isolation and Miles Molan’s engagingly responsive student, an Adonis-like temptation and reminder of George’s lost love and youth, create more substantial roles whose energy and passion revitalise George’s enthusiasm for life.

Philip Wilson’s assured direction skilfully blends George’s droll yet perceptive observations with moments of deep sadness and profound scrutiny of identity while the socially meaningful elements of his day are top and tailed by bedroom isolation and the demands of bodily functions.

Caitlin Abbot’s concrete style set provides a cold, 1960s backdrop to questionably the last day of George’s life while Beth Duke’s sound design reinforces the period and injects energy with humorous snippets from talking books to movie scores.

This world premiere is a stylish and polished piece of theatre that Park Theatre can be rightfully proud in showcasing.

Runs until November 26 2022. Box office: (020) 7870-6876, parktheatre.co.uk

 

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