Reviewer: Christine Stanton
Writer: Kevin Kelly
Director: Tim McArthur
“Uncomfortable Ambiguity“
2 / 5
Composer Benjamin Britten was celebrated in the UK for his contributions to music, specifically opera and orchestra. But behind his accolades there were supposedly uncomfortable close relationships with young boys – relationships that his friends and partner warned against yet ones that became seemingly somewhat of an obsession.
The show begins with Britten’s (Gary Tushaw) search for a choirboy to take the lead in the new opera that he is currently composing. The moment he sets eyes on 12-year-old David (Liam Watson) he is completely enamoured – although his voice isn’t exactly the right fit, his childhood innocence and enthusiasm for music shines through, and Britten is determined to have him in the role. They spend increasing amounts of time together, much to the dismay of Britten’s partner Peter (Simon Willmont), who disapproves of the uncomfortable nature of their friendship – highlighting the inappropriate behaviour they partake in such as naked swimming at the beach and sharing a bed together. Britten however – is adamant the relationship is innocent, with David backing up his claims that nothing untoward has happened (outside of the nakedness and bed sharing of course) and that he is desperate to stay in the show while he can, knowing that as soon as his voice breaks, he’ll be cast aside for a new lead.
Throughout the 90minute runtime, the audience are shown variations of Britten’s inappropriate conduct with David, yet rather than this being framed as rightfully abhorrent, there is an element of uncomfortable ambiguity whereby Britten’s conduct is portrayed almost as ‘a product of the time’ or ‘not as serious as it could have been’. This stance is extremely off-putting and would land better had there been less emphasis on the ‘grey areas’ of their conduct and more focus on the clear misuse of power. David is often blamed for the effect he has on Britten by Britten’s peers – which shamefully is probably a portrayal of accuracy, however, when the writing itself is also almost dismissive of the subject matter it all becomes distastefully interlinked.
There is a lot packed into the storyline, from the obvious link to paedophilia, but also Britten and Pears illicit relationship during a time that homosexuality was illegal, as well as the arts and the power structures that reside within it. Yet, even with so many different avenues – not enough is said. The pacing is slow, the story is lacking substance and the conclusion falls flat, with a rushed summary of how their lives panned out after the show toured.
Staging a show about a real person and their real controversies is always going to be hard – avoiding speculation and needing to deliver the story factually interspersed with the creativity required to make the story engaging. Unfortunately, in this instance, it falls short, without giving enough context of the famous figure while simultaneously focusing too sympathetically on the controversies that surrounded them.
Runs Until 10 March 2024
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