There isn’t much that feels particularly feral or monstrous about this new musical, which is a bit of a strange beast. While often bold and brimming with smart theatrical ideas, it’s a little uncertain of what it wants to be – just like the hormonal adolescents at its centre.
Teenager Jax (“she/they/whatever”) lives with her doting and supportive nan in a small Welsh village, passing the days with friends in the park and failing to get a job at the local chippy. That is until one day Ffion appears at the bus stop, armed with queer theory and poetry and terminology. Sparks fly, kisses are exchanged and climaxes reached as Jax navigates the turbulence of rural adolescence.
Written by Bethan Marlow, with music by Nicola T Chang, Izzy Rabey’s production moves at a brisk pace, possessing an impressive athletic dynamism, aided by musical director Alex Comana performing live on stage, Osian Meilir’s muscular choreography and Cara Evans’s design of ladders and climbing frames. Marty Langthorne’s lighting is exquisite, as if the stage is a pulsating heart, fit to burst.
As Jax, Rebecca Hayes carries proceedings with a sharp focus and Carys Eleri’s funny and moving performance as Nan is especially lovely. The entire ensemble are more than up to the task, doubling as relatives and friends as well as giving voice to Jax’s inner conflicting voices (echoing the conceit of the Thoughts in another queer musical, A Strange Loop).
The 75 minutes whiz by with little pause but everything happens so quickly that there’s little dramatic build-up and little to resolve. Catastrophes are swiftly overcome, forgiveness quickly granted to fairly unforgivable transgressions and an agitprop detour feels unearned. Perhaps this is dramatic structure as hormonal flux, and while it’s refreshing to have a musical that centres queerness without making either gender or sexuality the source of dramatic tension, it causes the narrative to feel inconsequential.
From the outset, it seems that Jax is content to work things out at their own pace. A bit more time might have been useful for the drama, too.
At Sherman theatre, Cardiff, until 24 February. Then touring until 22 March
