Set in Dungeness, a remote part of the UK, a small group of teenagers meet in a safe house for LGBT+ youth. Dungeness by Chris Thompson is about commemoration, visibility and identity. It is performed by PACE Youth Theatre, and is performed at the closing of Connections Festival 2018 (and, rather appropriately, Pride Month 2018).The show opens with a slicky organised opening movement, introducing us to the several characters and personalities we will witness shortly. It’s an effective opening both practically and thematically, considering it plants a seed in our mind about the message of difference – we are all different but can we all share a space peacefully?
It seems not – at least, at first. Self-appointed leader of the safe house, Birdie (Niamh McManus) struggles to foster a conversation between the young people present. She tries everything – including, hilariously, to get the youth to participate in a game of ‘I say a boom!’ (a call-and-response icebreaker which many performers will probably recognise!) McManus plays the role of Birdie with a fantastic energy and a hilarity, and throughout her comedic moments are balanced finely with the serious discussions throughout.
The show follows the young people trying to agree on how to commemorate an attack against LGBT citizens. Should they go outside together to show solidarity? Or should their two minute silence happen inside? Is it hiding away if they don’t protest publicly? What if they’re not ready to tell the world who they are? Whilst they argue their differing perspectives, we learn that there are underlying tensions – hidden love, thinly veiled xenophobia and lies, amongst others.
What works so wonderfully are the fully-fleshed characters and the humorous (yet thoughtful) writing. Adira (Amy Gallagher) faces prejudice and violence due to being both LGBT and Muslim (even whilst in the supposed ‘safe’ house). Tana (Ruth Main) is aggressive and sneering of Adira’s religion, but it seems as though she has some hidden motives of her own. Particular recognition to Caia (Katherine Wilson), who pulls off a difficult and intensely dramatic character with truthfulness and vigour. And the character of Franny (Deborah Russel) is a testament to silence as a form of protest, linking in quite nicely towards the end when the audience are also asked to participate in a two minute silence for all the victims of hate crimes.
The show also utilises some interesting shadow puppetry, framed by a window. This window has been repeatedly smashed by anti-gay protestors, and the singing and the puppetry that takes place within its frame serves to highlight the message waved from a banner at the end of the show – ‘love wins.’
The show is passionate and colourful (in particularly thanks to Ross Malloy’s performance as Jotham but also to the show’s all-singing, all-dancing finale), and succeeds in getting us to laugh and feel at the same time. A stellar cast and an enjoyable show all round!
