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The Guardian - UK
The Guardian - UK
Entertainment
Clare Brennan

Do I Love You? review – laughter and pain in John Godber’s northern soul comedy

Martha Godber, Emilio Encinoso-Gil and Chloe McDonald in Do I Love You?
‘Physicality’: Martha Godber, Emilio Encinoso-Gil and Chloe McDonald in Do I Love You? Photograph: Ian Hodgson

I caught the John Godber Company’s latest touring production at Hull Truck, the theatre whose reputation the writer helped to build and consolidate over his years there as artistic director; ever-popular hits include Up ’n’ Under, Bouncers (touring next year) and Teechers (recently updated).

In Do I Love You?, three Hull-based twentysomethings are trying to find their feet, post-Covid. Natalie (Chloe Mcdonald) and Kyle (Emilio Encinoso-Gil) have degrees; Sally (Martha Godber) looks after her gran (well-honed, energetic performances from all three). The only work available to the struggling trio is wo/manning the kiosks of a fast-food drive-through.

As in earlier plays, the characters share a specific focus of interest; here, the world of northern soul (the title is taken from a Frank Wilson number, in disc form so rare it is worth thousands of pounds). Their discovery of the uptempo, beat-heavy music and its related dance style gives the characters purpose and the play its shape and driving force. Short scenes are end-stopped with classic tracks and sassy steps (World Northern Soul Dance champion 2022, Sally Molloy, choreographs). As the characters learn the moves and, crucially, the spirit of the dance, it takes over their lives; even reshaping the grinding repetition of fast-food service.

The action demonstrates features core to Godber’s writing and directing: minimal set, emphasis on the actors’ physicality; direct address to the audience; demotic dialogue patterned to heighten qualities of everyday speech. In this production, one exchange is outstanding. Sally, speaking metaphorically, repeatedly accuses Natalie: “You shat on my plate.” Kyle, having missed the beginning of the argument, thinks Sally is speaking literally; a new argument develops around the same phrase.

The interplay of situation and emotion is bright and sharp, laughter playing tag with pain. But something is missing. Godber’s determination to validate through everyday language the experiences of characters not often dramatised (which I admire) has a limitation: inner lives, glimpsed, are not fully revealed. I’m left wanting just a bit more soul.

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